Podcasts about Metal Machine Music

Hey everyone...in honor of our upcoming 100th episode (!!!), I'll be occasionally re-releasing some of my favorite past conversations. This one was special and powerful--the incredible Ann Magnuson coming on and being incredibly heartfelt, funny, vulnerable, and truthful on the show. I love that I never know where the show is going to go and this episode is the perfect example of why I feel so honored to do Revolutions Per Movie. (Episode 48 which originally aired on August 8th, 2024).The original podcast show notes:This week, we talk to legendary actor, musician, performance artist, and writer ANN MAGNUSON (Bongwater, The Hunger, Making Mr. Right, Cabin Boy, Pyramid Club, Club 57) about the influential cinema jazz documentary Jazz On A Summer's Day.  We discuss the performances in the film (including Thelonious Monk, Anita O' Day, Chico Hamilton, Eric Dolphy to name a few performers), what it was like for Ann to inhabit Anita O'Day for the audio book of her autobiography, first impressions of Lou Reed's Metal Machine Music, Ann's programing at the legendary NYC Club 57, Ann's new song 'Ghost Cat' with producer Don Dixon, her early life in West Virginia, D.I.Y. & Ann's SurRURALism techniques, success in the underground being a dirty word, the return of Vulcan Death Grip, being a professional walk-a-thoner, photographer & filmmaker Bert Stern, how the film brings a visceral sense of childhood for Ann, how Stern made the whole project happen with his own equipment and financing, Ann's parents and the dry Jazz club scene in West Virginia, filming Making Mr. Right and the new wave sensibility of the 80s, how Monk's performance is presented in the film, Chris scats the Anita O' Day finale of ‘Tea For Two' from his memory of repeated listening of the film at his video store, the white privilege throughout in the film, midnight Mahalia Jackson performances, how protest music is needed now more than ever and Ann reads from Anita O'day's memoir about the performance that was filmed for this movie and how it changed O'Days life. So let's never sing the same song the same way twice on this week's episode of Revolutions Per Movie!ANN MAGNUSON:https://annmagnuson.com/https://annmagnuson.bandcamp.com/album/ghost-catVULCAN DEATH GRIP:https://www.youtube.com/watch?v=f2_dWSpDXJEREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movies releases new episodes every Thursday. If you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly bonus episodes and exclusive goods just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com Hosted on Acast. See acast.com/privacy for more information.

Today's podcast is mainly industry and scene chat, are governments going to ignore human creatives when training AI models, how recent anger over US visa issues for touring European bands fits perfectly into political bias, do we all need to diversify our merch and only stock high end items? and if you have Gene Hoglan in your band get a good drum sound.......among other things.....Primordial cds/lps available fromhttps://www.metalblade.com/primordial/http://www.patreon.com/AlanAverillMy Youtube channelhttps://www.youtube.com/@AlanAverillNemtheangahead over there and subscribePrimordial on Spotifyhttps://open.spotify.com/artist/0BZr6WHaejNA63uhZZZZek?si=yFFV8ypSSDOESUX62_0TzQsponsored by Metal Blade recordshttps://metalblade.indiemerch.com/promo code AA 2024 for 10% off your order ships worldwideFor info on my work as a booking agent go to:https://www.facebook.com/DragonProductionsOfficialor emailalan@dragon-productions.comI made some very brutal old school death metal right hereVERMINOUS SERPENThttps://open.spotify.com/artist/54Wpl9JD0Zn4rhpBvrN2Oa?si=zOjIulHXS5y9lW1YHMhgTACheck out my other doom bandDREAD SOVEREIGNhttps://open.spotify.com/artist/60HY4pl0nbOrZA6u2QnqDN?si=sxQ5_1htR6G3WIvy1I_wXAand take a listen to some old school electro goth I madeAPRILMENhttps://open.spotify.com/artist/7GzLO1YJClmN5TvV4A37MJ?si=cRXSk24lQKWSqJG-B8KbWQSupport this show http://supporter.acast.com/agitators-anonymous-the-alan-averill-podcast. Hosted on Acast. See acast.com/privacy for more information.

This week, we tackle the lofty, ambitious, sometimes bombastic topic of rock operas and concept albums. Most acknowledge that the rock opera was the outgrowth of the psychedelic era where, particularly in a post-Sgt. Pepper world, the rock n' roll album became an artistic statement. As musicians sought to expand and alter the fabric of pop music, “rock operas” with narratives, character development, and distinct movements were being explored on records like the Pretty Things' SF Sorrow (1968) and the Who's Tommy (1969). All rock operas are concept albums, but not all concept albums are rock operas. The concept album is a collection of songs that are tied together to present an overarching theme, going back as far as Woody Guthrie's Dust Bowl Ballads, a 1940 collection of 78 rpm records that stayed true to the title.  Joining us as our Third Lad for this discussion today is Dave Gebroe, the creator & host of the music obsessives' podcast Discograffiti. Dave dives into amazingly deep and immaculately researched discussions on the catalogues of a wide range of artists - if not with the artist themselves, then with a jaw-dropping roster of guests. Dave is also a filmmaker, writing, producing and directing the movies The Homeboy and Zombie Honeymoon. If that weren't enough, he's masterminded a 2 LP tribute to-slash-reimagining of Lou Reed's much maligned album Metal Machine Music, and I believe is working on a rock opera of his own. Oh, and you thought Gregg ruins everything? Just wait until he meets his match...Berlin! Learn more about your ad choices. Visit megaphone.fm/adchoices

Lords: * CisHetKayFaber * https://www.patreon.com/CisHetKayFaber * Andrew * https://luxurybunkers.bandcamp.com/album/killer-karen Topics: * People say the craziest stuff in front of janitors. * Revisiting development of a creative work after 20 years * Naming conventions in the demo scene vs. the ZZT scene * How to Be Perfect, by Ron Padgett * https://www.poetryfoundation.org/poems/57243/how-to-be-perfect * Floops, a 3D cartoon character generated in VRML in the mid-90's internet Microtopics: * Putting all your stress from the last three months into a single EP. * Brains pooping right into your ears. * Refusing to talk about Lou Reed's Metal Machine Music. * Are you allowed to talk to janitors?? * Being assumed to be part of a group (openly racist people) that you are not actually part of. * The risks of letting other people clean up after you. * How do you know when it's time to eat candy when you don't have the candy gland? * Giving yourself heat stroke because you don't realize it's too hot. * Making a plan for how to not get heat stroke! * Not having a thirst meter but your snacking meter is pegged 24/7. * The inability to sleep and eat at the same time. * How to tell if you're on SSRIs. * Cyclothymia. * "You have to do this now or I'm going to stare at you." * A VR exercise app where if your heart rate drops too low all the NPCs start staring at you. * The cost of not taking care of yourself. * Clinging to your flow state for dear life. * Feeling like you've done a thing vs. actually doing the thing. * Sedarising and unsedarising your essay. * The many eras of cancelling David Sedaris. * Independent tabletop game developers in the Osaka area. * Writing to explore your own thought space. * Writing the program and then running the program. * Taking a twenty year break between essay drafts so you can revisit your ideas fresh. * Cyberpunk-coded online handles. * Attaching a political ideology to the ZZT scene. * Role-playing bring a small business owner as you make art in your bedroom and share it with the online community. * Social capital in the cracking community. * The era in your life when you didn't even know it was possible to pay for computer games. * Who'd win in a fight, Slayer, or Mega Slayer ZZ9 Final? * The revealed philosophies of different online communities. * Shareware and early web nostalgia. * A wild time to be on the Internet. * Enjoying lo-fi versions of a thing. * A movie with bad special effects that look great in the pirated cammed version. * Straightening your room before you save the world. * Not doing anything to make what you want impossible. * Using attractive stamps, like the one with the tornado on it. * Carrying the only poem you like around with you on index cards. * Living in a culture where respect for the elderly is out of control. * The age at which you get to elbow your way to the front of every line. * Getting paid to tell people how to do things better. * Things you had to learn outside of school. * A guy who looks like he's eaten every lemon in the world. * Ron Padgett celebrity lookalikes. * An alarm clock that wakes you up by shouting "I'm looking forward to the Internet of things!" in your own voice. * Who's been to cocktail parties and when, and did you discuss VRML? * Hand animating 3D cartoons by typing VRML. * Vtubers in the 90s. * Making things and putting them on the Internet and everyone just assumes you just prompted an AI to make it. * Demystifying the magic pixie dust. * The burly wizard with a hammer and anvil who knows how to make the metal not brittle. * NAND to Tetris and Cryptopals. (Not the blockchain kind.) * Learning to never roll your own crypto. * Magic. (Derogatory.) * Punished for understanding the assignment.

We're joined by Organized Meat to discuss Lou Reed's solo career. His electric shock therapy as a kid, The Velvet Underground, Andy Warhol, The Factory, and nearly every solo album Reed released in his career. Follow Organized Meat on X https://x.com/Bazillionplus Rare Candy Premium Episodes and Written Content https://rarecandy.substack.com/ All Rare Candy Links https://beacons.ai/rarecandy Time Stamps 00:00 Lou Reed Intro 15:30 Lou Reed's Childhood 21:08 Delmore Schwartz 26:40 The Velvet Underground/Andy Warhol 45:09 Transformer (1972) and David Bowie 50:42 Reed's sexuality 55:40 Berlin (1973) 01:04:38 Lou Reed Helps End Communism 01:10:35 Metal Machine Music (1975) 01:16:08 Relationship with Rachel Humphreys 01:18:23 Coney Island Baby (1976) 01:27:45 Street Hassle (1978) 01:37:40 The Blue Mask (1982) 01:45:20 New Sensations (1984) 01:52:53 Lou Reed and Jesse Jackson 01:55:07 Death of Andy Warhol 02:04:22 Lou Reed and Guns n' Roses 02:07:40 Ecstasy (2000) and more Lou Reed stories

John Cale und Lou Reed suchten in den 70er Jahren stets neue Formen für ihre Musik. Cale produzierte neben Nicos Alben auch „Horses“ von Patti Smith und das Debütalbum der Stooges. Sein Album „Paris 1919“ stach heraus und ließ sein musikalisches Wissen und Können aufscheinen. Lou Reed lieferte mit „Berlin“ eine durchgehende Erzählung in Liedern, mit „Metal Machine Music“ ein verstörendes Noise- und Industrial-Werk, das sein Publikum eher verschreckte. Danach wechselte er wieder ins leichtere Fach und hatte mit „Coney Island Baby“ Erfolg. Cale etablierte sich mit raffinierten, leicht zugänglichen Balladen Mitte der 1970er Jahre auch als Solo-Popmusiker, ohne jedoch seine Lust an zeitgenössischer klassischer Musik zu vergessen. Lou Reed kehrte mit den Alben „Blue Mask“ oder „New York“ zu seinen typischen Songreportagen zurück, in denen er erneut distanziert Szenen und Originale der Straße musikalisch einfing. Musikliste: Lou Reed: Lou Reed (1972): I can't stand it, I love you, Wild child, Ride into the sun Transformer (1972): Vicious, Perfect day, Walk on the wild side, Satellite of love, Goodnight Ladies Berlin (1973): Lady Day, Caroline says II, Sad song Rock 'n‘ Roll Animal (live, 1974) Sally Can't Dance (1974): Baby face, Sally can't dance, Billy Coney Island Baby (1975): Crazy feeling, Charley's girl, Kicks, A gift, Coney Island baby Rock and Roll Heart (1976): I believe in love, Rock and roll heart Street Hassle (1978): Street hassle Live: Take No Prisoners (1978) The Bells (1979): I want to boogie with you Growing Up In Public (1980): How do you speak to an angel, The power of positive drinking The Blue Mask (1982) Legendary Hearts (1983): Legendary hearts, Make up mind, The last shot, Rooftop garden New Sensations (1984) Mistral (1986): Tell it to your heart New York (1989) Songs For Drella (Lou Reed & John Cale, 1990): Style it takes, Nobody but you, Hello it's me Magic And Loss (1992) Set The Twilight Reeling (1996): NYC man, Set the twighlight reeling Ecstasy (2000): Paranoia key of E, Tatters, Turning time around The Raven (2003): Call on me, Hop frog, Who am I John Cale: Paris 1919 (1973) Music For A New Society (1982): Taking your life in your hands, Close watch Wrong Way Up (mit Brian Eno, 1990): Spinning away Fragments For A Rainy Season (live, 1992) Mercy (2023): Story of blood Nico: Chelsea Girl (1967), The Marbel Index (1968), Desertshore (1970), The End…(1974) Unser Podcast-Tipp in dieser Folge: Das Wissen / https://1.ard.de/swr2_wissen_cp

Send us a textAs we grew up, music was the most important thing there was.  As part of that, we bought some albums that weren't great, and time has generally proven our assessments right! This episode, we talk about some of those "dud" albums, by artists like Bowie, U2, Led Zeppelin, Golden Earring, Neil Young, Alice Cooper, Phil Collins and Yes, to name but a few. In Rock News, we talk about a Filipino family who perform Led Zeppelin's Whole Lotta Love with uncanny precision and an auction of Fleetwood Mac's Christine McVie's memorabilia, wardrobe and belongings. Our “Album You Must Listen to Before You Die” is Dire Straits' monster 1985 hit, “Brothers in Arms”. Released at a time when Dire Straits could do no wrong, this album sold over 30 million copies worldwide and went 9 times platinum in the US alone. We damn it with faint praise.    A Whole Lotta Love - Led Zeppelin Cover by Missioned Soulsyoutu.be  The Bridge:  Neil Young Tribute Album  Playlist  References:  Kenwood KA9800 amp, Pioneer PL518 direct drive turntable, Cerwin Vega 15-inch 2 way speaker, Ripper, Sounds of 79, Bowie Pinups, Diamond Dogs, “Candidate”, drugs, Spiders from Mars, “Sorrow”, Scarey Monsters (and Super Creeps), U2: Songs of Innocence, iTunes, Joshua Tree, Achtung Baby, Neil Young, Trans, Geffen, “Mr. Soul”, Buffalo Springfield, “Computer Age”, Sonic Youth, “The Bridge”, Golden Earring, Moontan, “Radar Love”, Alice Cooper Goes to Hell, Yes, Yessongs Live, Phil Collins, Face Value, Lou Reed, Metal Machine Music, Pete Townshend, Psychoderelict, The Beatles, Naked, Led Zeppelin, In through the Out Door, “In the Evening”, “All my Love” 

The Safety Propaganda guide to style PATREON LINK OSTVINCENT GALLO "HER SMELL THEME" LOU REED "METAL MACHINE MUSIC, PT 2" SUICIDE "CHEZZAZE" (LIVE)MILES DAVIS "ORBITS"NICK CAVE AND THE BAD SEEDS "JACK THE RIPPER" 

Greetings! Much new listening for us all this week!  I'm particularly thrilled to open this week's program with new music from composer/reed player, Ken Field's latest Neuma Records release, "The Canopy". Ken is an old friend of Pushing The Envelope and it's alway a sonic pleasure when he puts out a new release. In addition, lots of music from other folks who've you've heard on PTE previously, featuring new releases from Ken Wallraf, Trem77 & Fletina (in tandem w/ fellow sound artist, Peter Wullen).  Lastly, I broke out my copy of Lou Reed's "Metal Machine Music" to close things out. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter-like x-thing: https://twitter.com/envpusher1    9-14-24 PTE Playlist   Darkness Into Light - Ken Field - The Canopy - Neuma Records (2024) https://kenfield.bandcamp.com/album/the-canopy    London 1997 - David Wallraf - Nostalgia - self-release (2024) https://davidwallraf.bandcamp.com/album/nostalgia    Quest - Usonic - Evolution - self-release (2010) https://usonic.bandcamp.com/album/evolution    Improv 1 / Kinesin / Hexal - EZRA feat. Mark Stewart & Xak Bjerken - Earth to EZRA - Cantaloupe Music (2024) https://ezraquartet.bandcamp.com/album/earth-to-ezra    Goosebump: Disaster / Plants / Farmers / Twinkle - The Residents feat. Snakefinger - Diskomo 2000 - East Side Digital (2000) https://meettheresidents.fandom.com/wiki/Diskomo_2000    thoroughbred marionettes - Euan Dalgamo - Halves - Frosti (2024) https://frostilabel.bandcamp.com/album/halves    Whirl to Whorl - Trem77 - Eyelid Movie EP - Grape Mod Records (2024 pre-release) https://trem77.bandcamp.com/album/eyelid-movie-ep    From An (Almost) Well-Lit Street - Makhun - The Air Is Unable - digital release (2024) https://makhun.bandcamp.com/album/the-air-is-unable    Trophallaxis (pt. 2) - Fletina & Peter Wullen - Trophallaxis - digital release (2024) https://fletina.bandcamp.com/album/trophallaxis    Death of an Analogue - Klaus Schulze - The Essential: 1972-1993 - Caroline (1994) https://www.klaus-schulze.com/    Metal Machine Music, part 1 - Lou Reed - Metal Machine Music: An Electronic Instrumental Composition *The Amine β Ring (dextrorotory components synthesis of sympathomimetic musics)- RCA (1975) https://loureed.com/metalmachinemusic/     

This week, we talk to legendary actor, musician, performance artist, and writer ANN MAGNUSON (Bongwater, The Hunger, Making Mr. Right, Cabin Boy, Pyramid Club, Club 57) about the influential cinema jazz documentary Jazz On A Summer's Day.  We discuss the performances in the film (including Thelonious Monk, Anita O' Day, Chico Hamilton, Eric Dolphy to name a few performers), what it was like for Ann to inhabit Anita O'Day for the audio book of her autobiography, first impressions of Lou Reed's Metal Machine Music, Ann's programing at the legendary NYC Club 57, Ann's new song 'Ghost Cat' with producer Don Dixon, her early life in West Virginia, D.I.Y. & Ann's SurRURALism techniques, success in the underground being a dirty word, the return of Vulcan Death Grip, being a professional walk-a-thoner, photographer & filmmaker Bert Stern, how the film brings a visceral sense of childhood for Ann, how Stern made the whole project happen with his own equipment and financing, Ann's parents and the dry Jazz club scene in West Virginia, filming Making Mr. Right and the new wave sensibility of the 80s, how Monk's performance is presented in the film, Chris scats the Anita O' Day finale of ‘Tea For Two' from his memory of repeated listening of the film at his video store, the white privilege throughout in the film, midnight Mahalia Jackson performances, how protest music is needed now more than ever and Ann reads from Anita O'day's memoir about the performance that was filmed for this movie and how it changed O'Days life. So let's never sing the same song the same way twice on this week's episode of Revolutions Per Movie!ANN MAGNUSON:https://annmagnuson.com/https://annmagnuson.bandcamp.com/album/ghost-catVULCAN DEATH GRIP:https://www.youtube.com/watch?v=f2_dWSpDXJEREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movies releases new episodes every Thursday. If you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. There, you can get weekly bonus episodes and exclusive goods just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Trust a French literary theorist to think creatively about whether AI can think creatively. Laurent Dubreuil is a professor of French literature at Cornell and the author of the intriguing Harper's piece, Metal Machine Music, which asks both if AI and we humans can think creatively. Using ChatGPT, Dubreuil ran a test at Cornell asking a bot and humans to compete poems written in English and then invited people to guess which were authored by AI and which by humans. The results of this creative literary experiment were surprising, particularly in terms of the common assumption that we humans are more creative than machines.Laurent Dubreuil is Professor of French, Francophone and Comparative Literature at Cornell University. In his research, Laurent Dubreuil aims to explore the powers of literary and artistic thinking at the interface of social thought, the humanities and the sciences. Dubreuil's scholarship is broadly comparative and makes use of his reading knowledge in some ten languages. Professor Dubreuil is the founding director of the Cornell Humanities Lab, a place for reflexive dialogues between practitioners from the sciences and the discursive disciplines who wish to eschew reductionism. At the École normale supérieure, Paris, and in other French universities, Prof. Dubreuil received training in most fields pertaining to the humanities, with a particular emphasis on French, Francophone and Comparative Literature (doctorate: 2001), Philosophy (doctorate: 2002), and Classical Philology. His professors and advisors included Jacques Derrida, Hélène Cixous, Umberto Eco and Pierre Judet de La Combe. In his years as a Mellon New Directions Fellow, Dubreuil acquired further competencies in Cognitive Science. Dubreuil is the author of thirteen books. Among his scholarly essays, five are available in English, most recently Poetry and Mind (Fordham UP: 2018) and Dialogues on the Human Ape (U of Minnesota P: 2019: co-authored with primatologist Sue Savage-Rumbaugh). Five other volumes have been released in French, including (in 2019) Baudelaire au gouffre de la modernité (Hermann), La dictature des identités (Gallimard). Dr. Dubreuil also authored three “creative” literary essays in French. In 2016, Anthony Mangeon edited L'empire de la littérature, an anthology of previously unreleased texts on and by Dubreuil.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Si vous suivez Graine de Violence depuis le premier épisode, alors vous m'avez déjà entendu prononcer son nom une paire de fois. Lou Reed a toujours été là, tapis dans l'ombre, il attendait son heure pour débarquer dans ce podcast qui lui doit beaucoup. Aurais-je écrit ne serait-ce qu'un seul mot si mes oreilles n'avaient jamais croisé le Velvet Underground ? Pas sûr. Tout comme ses ex-comparses du Velvet qui ont déjà ey droit à leur Graine de Violence - comme par hasard - Lou Reed a largement contribué à alimenter, pour le meilleur et pour le pire, une mythologie discutable. Si le rock était une religion polythéiste, alors Lou Reed serait Hadès, le dieu des Enfers. Les grands amoureux de l'œuvre du rockeur qui se voyait écrivain vous diront qu'il était un personnage compliqué, tandis que les autres décrèteront, sans détour, que c'était une ordure. Dans ce double épisode exceptionnel, je tente d'expliquer - à vous et à moi-même - ce qui me touche tant dans la musique de ce grand méchant du rock. Merci à Michel Tuttle pour le montage voix, et à Pomme et Lily pour la relecture ! Jetez vous sur leurs podcasts respectifs : Mauvais Travail, Choixpitre et Doctor What. Merci à Lily Luca pour sa belle polyphonie en début d'épisode (allez écouter sa musique https://open.spotify.com/intl-fr/artist/3GnPjvHsWsTkiS6OJNdrHB) Quelques références… Des bouquins : Lou Reed, A Life – Anthony DeCurtisPerfect Day, An Intimate Portrait of Life With Lou Reed – BettyeKronstadTransformer – Ezra FurmanWhite Light White Heat – Richie UnterbergerThe Velvet Underground – Jim DeRogatisLou Reed, les Années Noires (chapitre du livre The Dark Stuff) – Nick KentPlease Kill Me – Legs McNeil & Gillian McCainLes articles de Lester Bangs :Sourd-muet dans une cabine téléphonique : une parfaite journéeavec Lou Reed (1973)Monolithe ou monotone ? Metal Machine Music de Lou Reed (1975)Comment je me suis castagné avec Lou sans m'endormir une seule fois(1975)Comment devenir tortionnaire sans effort (1976)Le plus grand album jamais enregistré (1976) Des disques : The Velvet Underground :The Velvet Underground & Nico (1967) White Light White Heat (1968) The Velvet Underground (1969) Loaded (1970)VU (1985)Les Lives :1969 : The Velvet Underground Live (1974) Live MCMXCIII (1993) * Lou Reed Solo :Lou Reed (1972) Transformer (1972)Berlin (1973) Sally Can't Dance (1974)Metal Machine Music (1975) ?????Coney Island Baby (1975) Rock'n'Roll Heart (1976)Street Hassle (1978) The Bells (1979)Growing Up In Public (1980)The Blue Mask (1982)Legendary Hearts (1983)New Sensations (1984)Mistrial (1986)New York (1989)Songs For Drella (1990)Magic & Loss (1992) Set The Twilight Reeling (1996)Ecstasy (2000)The Raven (2003)Hudson River Wind Meditations (2007)Lulu (avec Metallica) *-

Our celebration of Lou Reed's deafeningly assaultive 1975 double-LP Metal Machine Music continues with author David Holzer, who's currently working on a book about the record! In this episode, David & I discuss: The manifold ways in which Metal Machine Music can be used as a weapon;   Why having a propensity for substance abuse lends itself to having the skill set one may require to fully immerse within the depths of Lou's work; And the f*cking sonic seagulls!    True to the original, Discograffiti creator/host Dave Gebroe's tribute compilation Metal Machine Muzak features four long-form tracks, each clocking in at 16 minutes and 1 second, by four indie-rock visionaries: LOU BARLOW (Dinosaur Jr, Sebadoh), CORY HANSON (Wand), W. CULLEN HART (The Olivia Tremor Control) and MARK ROBINSON (Unrest).   METAL MACHINE MUZAK will be available in two different configurations: digital-only or double vinyl plus digital.  The double-LP gatefold configuration will be pressed on 180-gram metallic silver vinyl, and is limited to an exclusive numbered run of 300 copies, only 90 of which will be available for purchase online.  METAL MACHINE MUZAK was curated and released by Dave Gebroe, creator and host of the music obsessive's podcast, Discograffiti. Both are available online ONLY on The Discograffiti Podcast's Patreon Record Shop. They will not be on streaming. To Order the Digital package: https://www.patreon.com/discograffiti/shop/metal-machine-muzak-digital-pre-order-169938 To Order the Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/metal-machine-muzak-double-vinyl-digital-169954 Check out Rudy Fischmann's Metal Machine Muzak mind-movie short: https://www.youtube.com/watch?v=akd3lYMUAs0 Listen & Subscribe to Discograffiti: https://podfollow.com/1592182331 Better yet, subscribe to our Patreon! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers, along with over 150 extra episodes at last count. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week, or just become a free member to keep in the loop. Also, please help support the show by ordering some choice goods from our new merch shop:  https://discograffitipod.myspreadshop.com/all Art: Bex J. Boyd CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #metalmachinemuzak #discograffiti #metalmachinemusic #loureed #davidholzer #coryhanson #wand #loubarlow #sebadoh #dinosaurjr #folkimplosion #thefolkimplosion #markrobinson #teenbeat #teenbeatrecords #unrest #airmiami #grenadine #fangwizard #willcullenhart #wcullenhart #oliviatremorcontrol #circulatorysystem #theoliviatremorcontrol #jeffmangum #neutralmilkhotel #indierock #elephant6 #elephant6movie #soldiersofsound --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Ceci est la dernière partie d'une quadrilogie d'épisodes consacrés à Lou Reed, il est donc fortement conseillé d'écouter les trois premières parties avant celle-ci ! Si vous suivez Graine de Violence depuis le premier épisode, alors vous m'avez déjà entendu prononcer son nom une paire de fois. Lou Reed a toujours été là, tapis dans l'ombre, il attendait son heure pour débarquer dans ce podcast qui lui doit beaucoup. Aurais-je écrit ne serait-ce qu'un seul mot si mes oreilles n'avaient jamais croisé le Velvet Underground ? Pas sûr. Tout comme ses ex-comparses du Velvet qui ont déjà ey droit à leur Graine de Violence - comme par hasard - Lou Reed a largement contribué à alimenter, pour le meilleur et pour le pire, une mythologie discutable. Si le rock était une religion polythéiste, alors Lou Reed serait Hadès, le dieu des Enfers. Les grands amoureux de l'œuvre du rockeur qui se voyait écrivain vous diront qu'il était un personnage compliqué, tandis que les autres décrèteront, sans détour, que c'était une ordure. Dans ce double épisode exceptionnel, je tente d'expliquer - à vous et à moi-même - ce qui me touche tant dans la musique de ce grand méchant du rock. Merci à Michel Tuttle pour le montage voix, et à Pomme et Lily pour la relecture ! Jetez vous sur leurs podcasts respectifs : Mauvais Travail, Choixpitre et Doctor What. Merci à Lily Luca pour sa belle polyphonie en début d'épisode (allez écouter sa musique https://open.spotify.com/intl-fr/artist/3GnPjvHsWsTkiS6OJNdrHB) Quelques références… Des bouquins : Lou Reed, A Life – Anthony DeCurtisPerfect Day, An Intimate Portrait of Life With Lou Reed – BettyeKronstadTransformer – Ezra FurmanWhite Light White Heat – Richie UnterbergerThe Velvet Underground – Jim DeRogatisLou Reed, les Années Noires (chapitre du livre The Dark Stuff) – Nick KentPlease Kill Me – Legs McNeil & Gillian McCainLes articles de Lester Bangs :Sourd-muet dans une cabine téléphonique : une parfaite journéeavec Lou Reed (1973)Monolithe ou monotone ? Metal Machine Music de Lou Reed (1975)Comment je me suis castagné avec Lou sans m'endormir une seule fois(1975)Comment devenir tortionnaire sans effort (1976)Le plus grand album jamais enregistré (1976) Des disques : The Velvet Underground :The Velvet Underground & Nico (1967) *White Light White Heat (1968) *The Velvet Underground (1969) *Loaded (1970) VU (1985) Les Lives :1969 : The Velvet Underground Live (1974) *Live MCMXCIII (1993) ** Lou Reed Solo :Lou Reed (1972) *Transformer (1972) Berlin (1973) *Sally Can't Dance (1974) Metal Machine Music (1975) ?????Coney Island Baby (1975) *Rock'n'Roll Heart (1976) Street Hassle (1978) *The Bells (1979) Growing Up In Public (1980) The Blue Mask (1982) Legendary Hearts (1983) New Sensations (1984) Mistrial (1986)New York (1989) Songs For Drella (1990) Magic & Loss (1992) *Set The Twilight Reeling (1996) Ecstasy (2000) The Raven (2003) Hudson River Wind Meditations (2007) Lulu (avec Metallica) *

Olivia Tremor Control and Circulatory System maximalist pop genius W. Cullen Hart explains his relationship with Lou Reed's deafeningly assaultive 1975 double-LP Metal Machine Music in this special, bite-sized episode, one in a series of 8 we're rolling out over the next two weeks that celebrates the May 3rd drop of Discograffiti's first official music release, our ambient reimagining METAL MACHINE MUZAK. True to the original, Discograffiti creator/host Dave Gebroe's compilation features four long-form tracks, each clocking in at 16 minutes and 1 second, by four indie-rock visionaries: LOU BARLOW (Dinosaur Jr, Sebadoh), CORY HANSON (Wand), W. CULLEN HART (The Olivia Tremor Control) and MARK ROBINSON (Unrest).   METAL MACHINE MUZAK will be available in two different configurations: digital-only or double vinyl plus digital.  The double-LP gatefold configuration will be pressed on 180-gram colored vinyl, and is limited to an exclusive numbered run of 300 copies, only 90 of which will be available for purchase online.  METAL MACHINE MUZAK was curated and released by Dave Gebroe, creator and host of the music obsessive's podcast, Discograffiti. Both are available online ONLY on The Discograffiti Podcast's Patreon Record Shop. They will not be on streaming. To Pre-Order the Digital package (May 3rd release): ⁠⁠⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-digital-pre-order-169938⁠⁠⁠ To Pre-Order the Double Vinyl + Digital package: ⁠⁠⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-double-vinyl-digital-169954⁠⁠⁠ Check out Rudy Fischmann's Metal Machine Muzak mind-movie short: ⁠⁠⁠https://www.youtube.com/watch?v=akd3lYMUAs0⁠⁠⁠ Listen & Subscribe to Discograffiti: https://podfollow.com/1592182331 Better yet, subscribe to our Patreon! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers, along with over 150 extra episodes at last count. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week, or just become a free member to keep in the loop. Also, please help support the show by ordering some choice goods from our new merch shop:  ⁠⁠⁠https://discograffitipod.myspreadshop.com/all⁠⁠⁠ Art: Bex J. Boyd CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠⁠⁠⁠https://podfollow.com/1592182331⁠⁠⁠⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: ⁠⁠⁠https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw⁠⁠⁠ Merch Shop: ⁠⁠⁠https://discograffitipod.myspreadshop.com/all⁠⁠⁠ Web site: ⁠⁠⁠http://discograffiti.com/⁠⁠⁠ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #metalmachinemuzak #discograffiti #metalmachinemusic #loureed #coryhanson #wand #loubarlow #sebadoh #dinosaurjr #folkimplosion #thefolkimplosion #markrobinson #teenbeat #teenbeatrecords #unrest #airmiami #grenadine #flinflon #fangwizard #willcullenhart #wcullenhart #oliviatremorcontrol #circulatorysystem #theoliviatremorcontrol #jeffmangum #neutralmilkhotel #indierock #elephant6 #elephant6movie #soldiersofsound --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Teenbeat mastermind and Unrest/Air Miami/Flin Flon/Grenadine/Fang Wizard/Cotton Candy/et al band addict Mark Robinson explains his relationship with Lou Reed's deafeningly assaultive 1975 double-LP Metal Machine Music in this special, bite-sized episode, one in a series of 8 we're rolling out over the next two weeks that celebrates the May 3rd drop of Discograffiti's first official music release, our ambient reimagining METAL MACHINE MUZAK. True to the original, Discograffiti creator/host Dave Gebroe's compilation features four long-form tracks, each clocking in at 16 minutes and 1 second, by four indie-rock visionaries: LOU BARLOW (Dinosaur Jr, Sebadoh), CORY HANSON (Wand), W. CULLEN HART (The Olivia Tremor Control) and MARK ROBINSON (Unrest).   METAL MACHINE MUZAK will be available in two different configurations: digital-only or double vinyl plus digital.  The double-LP gatefold configuration will be pressed on 180-gram colored vinyl, and is limited to an exclusive numbered run of 300 copies, only 90 of which will be available for purchase online.  METAL MACHINE MUZAK was curated and released by Dave Gebroe, creator and host of the music obsessive's podcast, Discograffiti. Both are available online ONLY on The Discograffiti Podcast's Patreon Record Shop. They will not be on streaming. To Pre-Order the Digital package (May 3rd release): ⁠⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-digital-pre-order-169938⁠⁠ To Pre-Order the Double Vinyl + Digital package: ⁠⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-double-vinyl-digital-169954⁠⁠ Check out Rudy Fischmann's Metal Machine Muzak mind-movie short: ⁠⁠https://www.youtube.com/watch?v=akd3lYMUAs0⁠⁠ Listen & Subscribe to Discograffiti: https://podfollow.com/1592182331 Better yet, subscribe to our Patreon! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers, along with over 150 extra episodes at last count. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week, or just become a free member to keep in the loop. Also, please help support the show by ordering some choice goods from our new merch shop:  ⁠⁠https://discograffitipod.myspreadshop.com/all⁠⁠ Art: Bex J. Boyd CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠⁠⁠https://podfollow.com/1592182331⁠⁠⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: ⁠⁠https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw⁠⁠ Merch Shop: ⁠⁠https://discograffitipod.myspreadshop.com/all⁠⁠ Web site: ⁠⁠http://discograffiti.com/⁠⁠ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #metalmachinemuzak #discograffiti #metalmachinemusic #loureed #coryhanson #wand #loubarlow #sebadoh #dinosaurjr #folkimplosion #thefolkimplosion #markrobinson #teenbeat #teenbeatrecords #unrest #airmiami #grenadine #flinflon #fangwizard #willcullenhart #wcullenhart #oliviatremorcontrol #circulatorysystem #theoliviatremorcontrol #jeffmangum #neutralmilkhotel #indierock #elephant6 #elephant6movie #soldiersofsound --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Wand main man and solo superstar Cory Hanson explains his relationship with Lou Reed's deafeningly assaultive 1975 double-LP Metal Machine Music in this special, bite-sized episode, one in a series of 8 we're rolling out over the next two weeks that celebrates the May 3rd drop of Discograffiti's first official music release, the ambient reimagining METAL MACHINE MUZAK. True to the original, Discograffiti creator/host Dave Gebroe's compilation features four long-form tracks, each clocking in at 16 minutes and 1 second, by four indie-rock visionaries: LOU BARLOW (Dinosaur Jr, Sebadoh), CORY HANSON (Wand), W. CULLEN HART (The Olivia Tremor Control) and MARK ROBINSON (Unrest).   METAL MACHINE MUZAK will be available in two different configurations: digital-only or double vinyl plus digital.  The double-LP gatefold configuration will be pressed on 180-gram colored vinyl, and is limited to an exclusive numbered run of 300 copies, only 90 of which will be available for purchase online.  METAL MACHINE MUZAK was curated and released by Dave Gebroe, creator and host of the music obsessive's podcast, Discograffiti. Both are available online ONLY on The Discograffiti Podcast's Patreon Record Shop. They will not be on streaming. To Pre-Order the Digital package (May 3rd release): ⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-digital-pre-order-169938⁠ To Pre-Order the Double Vinyl + Digital package: ⁠https://www.patreon.com/discograffiti/shop/metal-machine-muzak-double-vinyl-digital-169954⁠ Check out Rudy Fischmann's Metal Machine Muzak mind-movie short: ⁠https://www.youtube.com/watch?v=akd3lYMUAs0⁠ Listen & Subscribe to Discograffiti: https://podfollow.com/1592182331 Better yet, subscribe to our Patreon! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers, along with over 150 extra episodes at last count. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week, or just become a free member to keep in the loop. Also, please help support the show by ordering some choice goods from our new merch shop:  ⁠https://discograffitipod.myspreadshop.com/all⁠ Art: Bex J. Boyd CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠⁠https://podfollow.com/1592182331⁠⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: ⁠https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw⁠ Merch Shop: ⁠https://discograffitipod.myspreadshop.com/all⁠ Web site: ⁠http://discograffiti.com/⁠ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #metalmachinemuzak #discograffiti #metalmachinemusic #loureed #coryhanson #wand #loubarlow #sebadoh #dinosaurjr #folkimplosion #thefolkimplosion #markrobinson #teenbeat #teenbeatrecords #unrest #airmiami #grenadine #flinflon #fangwizard #willcullenhart #wcullenhart #oliviatremorcontrol #circulatorysystem #theoliviatremorcontrol #jeffmangum #neutralmilkhotel #indierock #elephant6 #elephant6movie #soldiersofsound --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

“Metal Machine Muzak” is a reimagining of Lou Reed's infamous Metal Machine Music album, curated and released by Dave Gebroe, creator and host of the Discograffiti podcast.    Dave and “Metal Machine Muzak” contributor Lou Barlow (Folk Implosion, Sebadoh, Dinosaur Jr.) join me to talk about the tribute (available May 3, only on the Discograffiti Patreon - http://www.patreon.com/discograffiti).    Also included on the tribute: Cory Hanson (Wand), Mark Robinson (Unrest, Teenbeat Records founder) and W Cullen Hart (Olivia Tremor Control, co-founder Elephant 6 Recording Company).   I start with the obvious question: “Is ‘Metal Machine Music'... good?”   Music fans will love this episode. Dave's a music obsessive and student of rock and roll. Lou Barlow is nothing short of an indie rock legend. Our hour-long conversation absolutely flew by.   Car Con Carne (a Q101 podcast) is presented by Alex Ross Art. Visit Alex Ross on YouTube (@TheAlexRossArt) to keep up to date with one of the comics industry's most important and celebrated creators.   ##   I want you to join my team! I'm training for the American Lung Association's Fight for Air Climb at Soldier Field on May 19. Go to fightforairclimb.org/chicago and click “register as a team member.” From there, search “Car Con Carne” and get yourself signed up! Join me at Soldier Field. Let's have some fun, do good and feel good.   ##   Safety and security are things you and I want, need and expect. What if you could always come home to a well-lighted house knowing that you and everyone inside were safe?   Or know that the package you were waiting on was delivered and secured.   Embrace the future of smart living. Empower your home with intuitive control. Call Dan at Easy Automation for a free, no-hassle quote. 630-730-3728. Or visit easy-automation.net.See omnystudio.com/listener for privacy information.

This beloved Sebadoh / Folk Implosion / Dinosaur Jr. luminary explains his relationship with Lou Reed's deafeningly assaultive 1975 double-LP Metal Machine Music in a special, bite-sized episode, one in a series of 8 we're rolling out over the next two weeks that celebrates the May 3rd drop of Discograffiti's first official music release, our ambient reimagining METAL MACHINE MUZAK. True to the original, Discograffiti creator/host Dave Gebroe's compilation features four long-form tracks, each clocking in at 16 minutes and 1 second, by four indie-rock visionaries: LOU BARLOW (Dinosaur Jr, Sebadoh), CORY HANSON (Wand), W. CULLEN HART (The Olivia Tremor Control) and MARK ROBINSON (Unrest).   METAL MACHINE MUZAK will be available in two different configurations: digital-only or double vinyl plus digital.  The double-LP gatefold configuration will be pressed on 180-gram colored vinyl, and is limited to an exclusive numbered run of 300 copies, only 90 of which will be available for purchase online.  METAL MACHINE MUZAK was curated and released by Dave Gebroe, creator and host of the music obsessive's podcast, Discograffiti. Both are available online ONLY on The Discograffiti Podcast's Patreon Record Shop. They will not be on streaming. To Pre-Order the Digital package (May 3rd release): https://www.patreon.com/discograffiti/shop/metal-machine-muzak-digital-pre-order-169938 To Pre-Order the Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/metal-machine-muzak-double-vinyl-digital-169954 Check out Rudy Fischmann's Metal Machine Muzak mind-movie short: https://www.youtube.com/watch?v=akd3lYMUAs0 Listen & Subscribe to Discograffiti: https://podfollow.com/1592182331 Better yet, subscribe to our Patreon! Extended edits of all shows are available on either the Lieutenant (longer) or Major (longest) Tiers, along with over 150 extra episodes at last count. Discograffiti's 4-show-a-week release schedule can be all yours for the price of a cup of coffee a week, or just become a free member to keep in the loop. Also, please help support the show by ordering some choice goods from our new merch shop:  https://discograffitipod.myspreadshop.com/all Art: Bex J. Boyd CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Merch Shop: https://discograffitipod.myspreadshop.com/all Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #metalmachinemuzak #discograffiti #metalmachinemusic #loureed #coryhanson #wand #loubarlow #sebadoh #dinosaurjr #folkimplosion #thefolkimplosion #markrobinson #teenbeat #teenbeatrecords #unrest #airmiami #grenadine #flinflon #fangwizard #willcullenhart #wcullenhart #oliviatremorcontrol #circulatorysystem #theoliviatremorcontrol #jeffmangum #neutralmilkhotel #indierock #elephant6 #elephant6movie #soldiersofsound --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Historien om det tidligere 'The Velvet Underground'-medlem byder på stoffer, alkohol og enorm musikalsk produktivitet. Men ligesom op- og nedturene i hans privatliv, så svang hans album også ofte mellem toppen af hitlisterne og eksperimentelle nybrud, som ikke fik den store folkelige opmærksomhed. 1970'erne startede stærkt ud for Lou Reed med det legendariske 'Transformer'-album, der indeholder hits som 'Perfect Day' og 'Walk On the Wild Side', men senere bød årtiet også på forsøg med binaurale optagelser, guitarstøj og et mere mørkt tekstunivers.Værter: Henrik Queitsch og Klaus LynggaardKlip og produktion: Mikkel WeinellSpilleliste:1. “I Can't Stand It” (1972)2. “Going Down” (1972)3. “Andy's Chest” (1972)4. “Make Up” (1972)5.  “Men of Good Fortune” (1973)6. “Caroline Says II” (1973)7. “The Kids” (1973)8. “White Light/White Heat – Live” (1974)9. “Sally Can't Dance” (1974)10. “Kill Your Sons (1974)11. “Metal Machine Music – 1:32 edit” (1975)12. “Kicks” (1975)13. “Charley's Girl” (1975)14. “Coney Island Baby” (1975)15. “Rock and Roll Heart” (1976)16. “Street Hassle”: 1. “Waltzing Mathilda” 2. ”Street Hassle” 3. Slipaway” (1978)17. ”I Wanna Be Black – Live” (1978)18. “Disco Mystic” (1979)19. “City Lights” (1979)

Ceci est la troisième partie d'une quadrilogie d'épisodes consacrés à Lou Reed, il est donc fortement conseillé d'écouter les deux premières parties avant celle-ci ! Si vous suivez Graine de Violence depuis le premier épisode, alors vous m'avez déjà entendu prononcer son nom une paire de fois. Lou Reed a toujours été là, tapis dans l'ombre, il attendait son heure pour débarquer dans ce podcast qui lui doit beaucoup. Aurais-je écrit ne serait-ce qu'un seul mot si mes oreilles n'avaient jamais croisé le Velvet Underground ? Pas sûr. Tout comme ses ex-comparses du Velvet qui ont déjà ey droit à leur Graine de Violence - comme par hasard - Lou Reed a largement contribué à alimenter, pour le meilleur et pour le pire, une mythologie discutable. Si le rock était une religion polythéiste, alors Lou Reed serait Hadès, le dieu des Enfers. Les grands amoureux de l'œuvre du rockeur qui se voyait écrivain vous diront qu'il était un personnage compliqué, tandis que les autres décrèteront, sans détour, que c'était une ordure. Dans ce double épisode exceptionnel, je tente d'expliquer - à vous et à moi-même - ce qui me touche tant dans la musique de ce grand méchant du rock. Merci à Michel Tuttle pour le montage voix, et à Pomme et Lily pour la relecture ! Jetez vous sur leurs podcasts respectifs : Mauvais Travail, Choixpitre et Doctor What. Merci à Lily Luca pour sa belle polyphonie en début d'épisode (allez écouter sa musique https://open.spotify.com/intl-fr/artist/3GnPjvHsWsTkiS6OJNdrHB) Quelques références… Des bouquins : Lou Reed, A Life – Anthony DeCurtisPerfect Day, An Intimate Portrait of Life With Lou Reed – BettyeKronstadTransformer – Ezra FurmanWhite Light White Heat – Richie UnterbergerThe Velvet Underground – Jim DeRogatisLou Reed, les Années Noires (chapitre du livre The Dark Stuff) – Nick KentPlease Kill Me – Legs McNeil & Gillian McCainLes articles de Lester Bangs :Sourd-muet dans une cabine téléphonique : une parfaite journéeavec Lou Reed (1973)Monolithe ou monotone ? Metal Machine Music de Lou Reed (1975)Comment je me suis castagné avec Lou sans m'endormir une seule fois(1975)Comment devenir tortionnaire sans effort (1976)Le plus grand album jamais enregistré (1976) Des disques : Berlin (1973) *Rock'n'Roll Animal (1974) Sally Can't Dance (1974) Lou Reed Live (1975) Metal Machine Music (1975) ?????Coney Island Baby (1975) *Rock'n'Roll Heart (1976) Street Hassle (1978) *The Bells (1979) Growing Up In Public (1980) The Blue Mask (1982) **Legendary Heart (1983) *New Sensations (1984) Mistrial (1986) *

Ceci est la deuxième partie d'une trilogie d'épisodes consacrés à Lou Reed, il est donc fortement conseillé d'écouter la première partie avant celle-ci ! Si vous suivez Graine de Violence depuis le premier épisode, alors vous m'avez déjà entendu prononcer son nom une paire de fois. Lou Reed a toujours été là, tapis dans l'ombre, il attendait son heure pour débarquer dans ce podcast qui lui doit beaucoup. Aurais-je écrit ne serait-ce qu'un seul mot si mes oreilles n'avaient jamais croisé le Velvet Underground ? Pas sûr. Tout comme ses ex-comparses du Velvet qui ont déjà ey droit à leur Graine de Violence - comme par hasard - Lou Reed a largement contribué à alimenter, pour le meilleur et pour le pire, une mythologie discutable. Si le rock était une religion polythéiste, alors Lou Reed serait Hadès, le dieu des Enfers. Les grands amoureux de l'œuvre du rockeur qui se voyait écrivain vous diront qu'il était un personnage compliqué, tandis que les autres décrèteront, sans détour, que c'était une ordure. Dans ce double épisode exceptionnel, je tente d'expliquer - à vous et à moi-même - ce qui me touche tant dans la musique de ce grand méchant du rock. Merci à Michel Tuttle pour son studio et son excellente interprétation du journaliste malmené (allez écouter son podcast https://podcastaddict.com/podcast/mauvais-travail/3097211 ) Merci à Lily Luca pour sa belle polyphonie en début d'épisode (allez écouter sa musique https://open.spotify.com/intl-fr/artist/3GnPjvHsWsTkiS6OJNdrHB) Quelques références… Des bouquins : Lou Reed, A Life – Anthony DeCurtis Perfect Day, An Intimate Portrait of Life With Lou Reed – Bettye Kronstad Transformer – Ezra Furman White Light White Heat – Richie Unterberger The Velvet Underground – Jim DeRogatis Lou Reed, les Années Noires (chapitre du livre The Dark Stuff) – Nick Kent Please Kill Me – Legs McNeil & Gillian McCain Les articles de Lester Bangs : Sourd-muet dans une cabine téléphonique : une parfaite journée avec Lou Reed (1973) Monolithe ou monotone ? Metal Machine Music de Lou Reed (1975) Comment je me suis castagné avec Lou sans m'endormir une seule fois (1975) Comment devenir tortionnaire sans effort (1976) Le plus grand album jamais enregistré (1976) Des disques : Berlin (1973) ***** Rock'n'Roll Animal (1974) *** Sally Can't Dance (1974) *** Lou Reed Live (1975) *** Metal Machine Music (1975) ????? Coney Island Baby (1975) **** Rock'n'Roll Heart (1976) ** Street Hassle (1978) *****

Si vous suivez Graine de Violence depuis le premier épisode, alors vous m'avez déjà entendu prononcer son nom une paire de fois. Lou Reed a toujours été là, tapis dans l'ombre, il attendait son heure pour débarquer dans ce podcast qui lui doit beaucoup. Aurais-je écrit ne serait-ce qu'un seul mot si mes oreilles n'avaient jamais croisé le Velvet Underground ? Pas sûr. Tout comme ses ex-comparses du Velvet qui ont déjà ey droit à leur Graine de Violence - comme par hasard - Lou Reed a largement contribué à alimenter, pour le meilleur et pour le pire, une mythologie discutable. Si le rock était une religion polythéiste, alors Lou Reed serait Hadès, le dieu des Enfers. Les grands amoureux de l'œuvre du rockeur qui se voyait écrivain vous diront qu'il était un personnage compliqué, tandis que les autres décrèteront, sans détour, que c'était une ordure. Dans ce double épisode exceptionnel, je tente d'expliquer - à vous et à moi-même - ce qui me touche tant dans la musique de ce grand méchant du rock. Quelques références… Des bouquins : Lou Reed, A Life – Anthony DeCurtis Perfect Day, An Intimate Portrait of Life With Lou Reed – Bettye Kronstad Transformer – Ezra Furman White Light White Heat – Richie Unterberger The Velvet Underground – Jim DeRogatis Lou Reed, les Années Noires (chapitre du livre The Dark Stuff) – Nick Kent Please Kill Me – Legs McNeil & Gillian McCain Les articles de Lester Bangs : Sourd-muet dans une cabine téléphonique : une parfaite journée avec Lou Reed (1973) Monolithe ou monotone ? Metal Machine Music de Lou Reed (1975) Comment je me suis castagné avec Lou sans m'endormir une seule fois (1975) Comment devenir tortionnaire sans effort (1976) Le plus grand album jamais enregistré (1976) Des disques : The Velvet Underground : The Velvet Underground & Nico (1967) ***** White Light White Heat (1968) ***** The Velvet Underground (1969) ***** Loaded (1970) **** VU (1985) **** Les Lives : 1969 : The Velvet Underground Live (1974) ***** Live MCMXCIII (1993) **** Lou Reed Solo : Lou Reed (1972) *** Transformer (1972) ****

So, audio on talkshoe failed. Diane couldn't hear me, so I did some house ads for myself (booking events in 2024 and 2025 at colemanassociates.net ) (How can I help your organization be and do better?) and my upcoming webinar for LibraryWorks called - Elevating Customer Satisfaction: Building Exceptional Library Experiences at https://www.libraryworks.com/webinars Thanks for listening.... Think of it as Metal Machine Music. Less angry tho.

Spéciale Lou Reed, prince des angoisses et de la nuit (Andy Warhol) à l'occasion des 10 ans de sa disparition et Clara Ysé dans la #SessionLive pour la sortie du 1er album Oceano Nox. Sophian Fanen évoque la carrière de Lou Reed, né le 2 mars 1942, à Brooklyn (New York) et mort le 27 octobre 2013 à East Hampton (Long Island, New York). L'auteur-compositeur-interprète américain  a commencé sa carrière avec le groupe The Velvet Underground, groupe résident de la Factory, un atelier d'artistes créé par Andy Warhol en 1964.Bio officielle UniversalInventeur du rock adulte des années 1970 avec The Velvet Underground, Lou Reed reste l'auteur d'une carrière en solo unique. Sorti de l'ombre avec l'album Transformer et le hit « Walk on the Wild Side » en 1972, le rocker new-yorkais s'attache au fil des albums à dessiner les contours d'un rock urbain. Après le majeur et déprimant Berlin (1973), le porte-parole des marginaux poursuit une carrière cahotique, alternant le meilleur (Rock'N'Roll Animal) et l'expérimental (Metal Machine Music). En 1989, sort l'ode définitive à sa ville (New York) et l'année suivante avec son ex-partenaire John Cale, l'ultime hommage à son mentor Andy Warhol (Songs for Drella). Par la suite, le mari de Laurie Anderson flirte avec les expérimentations au hasard de The Raven ou du projet Lulu, avec le groupe Metallica (2011). Sa disparition, quelques mois après une greffe du foie, le 27 octobre 2013, cause un grand émoi et laisse un vide immense.Titres Lou Reed- The Velvet Underground, Pale Blue Eyes, tiré de l'album The Velvet Underground (MGM Records, 1969) audio - Satellite of Love, tiré de l'album Transformer (RCA Victor, 1972) vidéo - Sad Song, tiré de l'album Berlin (RCA Victor, 1973) vidéo - Charley's Girl, tiré de l'album Coney Island Baby (RCA Victor, 1976)- Street Hassle, tiré de l'album Street Hassle (Arista, 1978) vidéo. Puis la #SessionLive reçoit Clara Ysé pour la sortie de son 1er album Oceano NoxClara Ysé. C'est, d'emblée, une voix. Une voix qui soulève le sable, traverse le feu, transperce la nuit, franchit en souveraine des continents de sentiments et transporte avec elle la douleur autant que ses remèdes. Elle est ce « joyau intact sous le désastre » de Mallarmé, pierre brute inamovible malgré le chaos, miraculeux talisman resplendissant sur des musiques elles aussi serties de beauté et de bravoure. Après un discret tour de piste en 2018 – six titres en français et en espagnol, dont le magnétique Le Monde s'est dédoublé – Clara Ysé s'avance enfin en pleine lumière, à pleine puissance, avec Oceano Nox, premier album à la grande audace, écrit et composé par elle, co-réalisé avec Ambroise Willaume (Sage), mixé par Renaud Letang et porté en battante avec des musiciens et un chœur au diapason.Depuis l'enfance, elle joue et chante, un violon entre les mains alors qu'elle savait à peine marcher, puis éduquée au chant à huit ans, avant de grandir en soprano et de tracer une route parallèle vers la chanson à ses études au Conservatoire et à son master de Philosophie. Parvenue à l'entrée de la trentaine, Clara Ysé possède ainsi derrière elle une longue traîne d'expériences et de sensations mêlées, de plaisirs sédentaires à mettre des poèmes en musique, mais aussi de voyages et de mariages artistiques qui imprègnent désormais son art incandescent et troublant. Frappée par un drame, il y a quelques années, c'est en Amazone qu'elle réapparait, au galop contre l'emprise du deuil, qu'elle sait chanter sans démonstration (Lettre à M) et dont elle s'effeuille du poids avec la légèreté d'une luciole (La maison). À ceux qui seraient frappés par sa douceur, elle répond, dans la chanson qui porte ce nom « Si tu savais la haine qui coule dans mes veines, tu aurais peur, si tu savais la chienne que je cache à l'intérieur… ».Passionnelle comme les aïeuls espagnols qui la précèdent, littéraire par atavisme (elle doit l'Ysé de son double prénom au Partage de Midi de Claudel), elle a publié un premier roman ardent, Mise à feu (Grasset, 2021), avant le grand embrasement de cet album qui démarre lui aussi tout feu tout flamme (Pyromanes). Longtemps, Clara Ysé a laissé la musique en liberté, sans la capturer dans un studio, chantant partout où elle le pouvait et organisant des fêtes qui terminaient invariablement en impros musicales, à l'aube. Les chœurs de Pyromanes ou de Souveraines viennent de là, voix de femmes et d'hommes qui l'accompagnent depuis toujours, et certains des musiciens – joueur de duduk, cuivres ivres ou violoncelle tisseur de songes - ont également vécu ces partages de minuit. Observer un père peintre, suivre la métamorphose de ses toiles qui partaient toujours du point le plus sombre pour mieux laisser jaillir la clarté, l'a inspirée une fois qu'elle s'est mise à composer ses chansons, cherchant à déployer musicalement cette même ascension chromatique. Elle a aussi beaucoup voyagé, emprunté au réalisme magique de la littérature mexicaine ou colombienne ses ensorcellements (Magicienne, Le désert) et ses envolées oniriques, qu'elle a su parfaitement retranscrire en musique (Cœur indompté). Ce premier album est d'abord celui d'une désirante, d'une « obsessionnelle de la réparation », dit-elle, qui a choisi comme plongée heureuse la lumière féroce des profondeurs, la vitalité des grandes traversées de nuit, l'étourdissement des émotions intenses, la vie aux lisières de la transe.Elle aime les novateurs, de Rosalia à Björk en passant par Kendrick Lamar, les chanteuses qui allient fragilité et force comme Lole Montoya, Janis Joplin, Mercedes Sosa, Nina Hagen, autant que la musique baroque et la liturgie extatique des chants grégoriens. Elle confronte sa voix à une modernité novatrice, guidée par son obsession de la recherche et son goût de la transgression, jouant autant avec ses producteurs à introduire des synthés aux textures irisantes, des rythmiques électroniques empruntant au reggaeton, qu'à s'approprier certains codes du Rébétiko grec qu'elle aime tant. Avec le feu, l'eau est son autre élément, celui de la tourmente comme de l'apaisement, et en empruntant à L'Enéide de Virgile, le titre de son album (« et ruit Oceano Nox », « et la nuit s'élance de l'océan »), déjà repris par Victor Hugo dans un poème dédié aux marins disparus, elle sait qu'hisser les voiles, comme elle chante dans l'accrocheur L'étoile, est aussi un geste d'amour fou, à en perdre l'équilibre et la raison. Vulnérable mais puissante, solide comme le granit et pourtant insaisissable, elle pénètre dans la chanson française avec l'éclat et la classe des grandes conquérantes. La suivre sera incontournable.Titres interprétés au grand studio- Douce Live RFI vidéos - Pyromanes, extrait de l'album Oceano Nox vidéo - Magicienne Live RFI vidéos.Line Up : Clara Ysé, guitare, voix, Ingrid Samitier, guitare.Son : Mathias Taylor, Benoît Letirant.► Album Oceano Nox (Tôt ou Tard 2023).

Join our investigators who are scouting an abandoned factory as a new rehearsal space for their experimental band. (Part 1 of 2)**Add our Patreon Feed to your Podcast App**https://open.acast.com/public/patreon/fanSubscribe/3607115This series is not suitable for listeners under the age of 18 and may contain material some people find disturbing.CONTENT WARNINGS:Lewd Humor, Profanity, Substance Abuse, ViolencePlayer CharactersScott Dorward as Keeper of Arcane LoreBridgett Jeffries as Minniecuppycup as C.C.Rina Haenze as BonnieWes Davis as BlaneProduction and CreativeGame Rules and Setting: Call of Cthulhu 7e by Chaosium, Inc.Transcriptions: Sabrina Haenze and Sonix.aiPatreon ShoutoutAlthalos, Anthony D., Caolán M., Drew M., E.M.F.D., Heather P., India thank you terror, Kevin M., Killius Manjaro, Lancey Pants, Matthew C., Mikah S., Steven H., Tomboi LaCroix, ai.mmm0rphine, Call Me Dirt, Dan F., firecop890, Jeff F., Jessen, Mario S., Michael H., Nathanael C., Not That NicNew PatronsBen L., Oisin M., Mika S., Ogden, Michael S., Daniela Hosted on Acast. See acast.com/privacy for more information.

Episode 94 Electronic Drone Music   Playlist Yves Klein, “Monotone-Silence Symphony” written in 1947. I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this drone work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I've examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” from 31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (1969 Edition X). Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. Tony Conrad, “Process Four of Fantastic Glissando” from Fantastic Glissando (2006 Table of The Elements). Dating from 1969, this recording contains various versions of the same sound piece, each processed slightly differently. “Process Four” accumulates the processed applied to the previous three processes. The first glissando recording was made using a sine wave oscillator processed through pump counter with a stereo-phase glissando. Recorded December 12, 1969, on a Revox reel-to-reel tape recorder set at 3¾ ips. Conrad was in LaMonte Young's circle of friends and performers and joined him on many productions of The Theatre of Eternal Music. Teresa Rampazzi , “Duodeno normale” and “Duodeno Patologico” from Musica Endoscopica (1972). Here we have two short electronic works from this remarkable women composer that emphasize the drone. The pulsing tones and textures were played manually using audio oscillators. Music produced by the N.P.S. (Nuove Proposte Sonore) group for the documentary entitled "Gastroscopia" (Gastroscopy) realized in 1972 by Prof. Domenico Oselladore, University of Padova, in collaboration with Istituto De Angeli s.p.a., Milan. This documentary was presented at the Scientific Film Festival, Policlinico Universitario di Padova, 1972. “Duodeno Normale” begins with a drone consisting of two continuous tones: a low-pitched buzz from a sawtooth wave accompanied by a pulsating higher-pitched tone. The drone is joined at the 11-second mark by a high-pitched ringing tone played on a third oscillator. This ringing tone is repeated every 5–8 seconds and sustained for two or more seconds each time. The irregular timing of the tone suggests that Rampazzi was manually playing it by turning the dial of an oscillators. The ringing tone is sustained for the duration of the piece, creating a three-part drone. The drones fade out, beginning with the lower buzzing tone. “Duodeno Patologico” uses a similar process. The Taj-Mahal Travelers, “The Taj-Mahal Travelers Between 6:20~6:46P.M.” from July 15, 1972 (1972 CBS/Sony). Released in Japan. Early album by the group founded by experimental electronic musician and violinist Takehisa Kosugi. Electronic Contrabass, Suntool, Harmonica, Performer Sheet Iron, Ryo Koike; Guitar Electronic Quiter, Percussion, Michihiro Kimura; Electronic Trumpet, Harmonica, Castanets, Seiji Nagai; Vibraphone, Santoor Suntool, Yukio Tsuchiya; Electronic Violin, Electronics, Radio Oscillators, Voice, Takehisa Kosugi; Vocals, Tokio Hasegawa. This album was recorded live at Sohgetsu Hall, Tokyo, Japan, July, 1972. Originally released using Sony's SQ quadraphonic system. Yoshi Wada, “Earth Horns with Electronic Drone”(1974) from Earth Horns with Electronic Drone (2009 EM Records). Recorded at Everson Museum of Art, Syracuse, New York, February 24, 1974. Electronics, Liz Phillips; Pipehorn Players, Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada; Electronic equipment designed by, Liz Phillips, Yoshi Wada; Pipehorns constructed by, composed by, recorded by, Yoshi Wada. Combining four of Wada's self-made "pipehorns" (constructed of plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early drone/minimalism. The performance filled the space with complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. Lou Reed, “Metal Machine Music” (1975 RCA). All music and electronics by Lou Reed. Inspired by LaMonte Young, this is what I would call a noise drone! Reed himself points to the influence of Young in his lean liner notes. "SPECIFICATIONS: No Synthesizers, No ARP, No Instruments?” 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. Eliane Radigue, “Triptypch” Part 2” (1978). (2009 Important Records). Electronic Instrumentation: ARP 2500 modular synthesizer and analog, multitrack tape composition. The piece uses real-time ARP programming, tape loops, and recorded acoustic sounds. This piece is characteristic of Radigue's fervent exploration of gradually changing layers of harmonically intersecting tones. It is the kind of drone work that can easily dip the listener into a pool of trance and is one of the composer's many works grounded by her dedication to Tibetan Buddhism. Note the overall slowly evolving changes formed by overlapping sustained tones presented without any clearly articulated beginnings and endings. John Cage, Gary Verkade, “Organ2/ASLSP” from The Works for Organ (2013 Mode). John Cage composed “Organ2/ASLSP” in 1987 for solo organ. This piece has been realized at a variety of lengths, from about 30 minutes, to 8 hours, and what is arguably the longest interpretation of music ever played, now 23 years into its projected run of 639-years being performed now in Halberstadt Cathedral, Germany where a special organ was created to perform the piece unattended until a chord change is called for. This work is not electronic, although the pipe organ may be thought of by some, including me, as the first synthesizer. Although I won't be playing this work except in the background of this introduction, I needed to mention it because of its significance in the canon of drone music. “This composition consists, like Cage's ASLSP, of 8 pieces. Unlike ASLSP, however, all pieces here should be played. Any of the 8 pieces may be repeated, and these repetitions may be played subsequent to any of the other pieces. The published score consists of a title page, brief instructions, and 4 leaves with music. Each page contains 2 pieces.” Phill Niblock, “Guitar, too, for four—The Massed Version” from G2,44+/x2 (2002 Moikai). 24-track mix of guitar samples from Rafael Toral, Robert Poss, Susan Stenger, David First. Guitarists adding 2 live parts each to the 24 track mix version: Kevin Drumm, Lee Ranaldo, Thurston Moore, Robert Poss, Alan Licht. Niblock's usually works with acoustic instruments, so this venture with electric guitar is somewhat unique in his body of work. He asks musicians to play parts that are first recorded and then reworked in the mixing and editing process, largely to eradicate pauses and silences so that the sounds can be blended without such interruptions. Pauline Oliveros and Reynols, "Half a Dove in New York, Half a Dove in Buenos Aires" (1999) (2022 Smalltown Supersound). Reynols is an Argentinian experimental band that began in 1993 as Burt Reynols Ensamble. Band member Alan Courtis wrote to me, saying, “First of all, thanks a lot for mentioning our Pauline Oliveros in the arms of Reynols collaboration in your book Electronic & Experimental Music. She was a great musician/composer and friend.” After which he pointed me to a “recent release of an old project we made with Pauline back in 1999.” This is it! Opening background music: Tony Conrad, Arnold Dreyblatt, Jim O'Rourke, “Side 1” from Tonic 19-01-2001 (2023 Black Truffle). Performers, Arnold Dreyblatt, Jim O'Rourke, Tony Conrad. Recorded January 19,2001 at Tonic, New York City. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

"THE WORST OF ALL TIME?"LORD SUTCH AND HEAVY FRIENDS by Lord Sutch (Cotillion, 1970)Disclaimer: this is an unusual move for Captain Billy, who ordinarily posts carts by artists whose music he's passionate about. However, one compelling aspect of collecting 8 tracks is the “grab bag” effect. Oftentimes, you'll purchase a group-lot of cartridges and you won't know what you have until you sort through them. Many times among the treasures are freak anomalies which hold a powerful attraction. This is that kind of item, and the story behind it is particularly interesting, so I decided to share it. Besides, I now proudly own three titles which hold the distinction of “The Worst Record Every Made” according to published sources: “Having Fun with Elvis on Stage,” “Lou Reed's Metal Machine Music,” and this one, which took the top spot of putrescence in a 1998 BBC poll. “Screaming” Lord Sutch, (1940-1999) was a character, to say the least. He held the record for contesting the most parliamentary elections, 39, since 1963. (After 1983 for the Official Monster Raving Loony Party).  Also in '63 he started his own Pirate Radio station “Radio Sutch”, whose short tenure ended after his manager, Reginald Calvert, was shot dead in a financial dispute. Lord Sutch (he wasn't really a Lord) was a known manic depressive who hanged himself in his late mother's house in 1999, and then was buried beside her. This recording may be of interest to completists because features Jimmy Page, John Bonham, Jeff Beck, Nicky Hopkins, and Noel Redding so, any devotees of Led Zeppelin, The Yardbirds, and Jimi Hendrix might be very interested to have it.  Recorded in London and Hollywood, it was disowned by the so called “Heavy Friends”. Page declared: “it was a bit of a send up - the whole joke reversed itself and became ugly.” And, thus the flamboyant Englishman who, inspired by Screaming Jay Hawkins, would make his concert entrances from inside a coffin, and who had a minor hit in 1963, entitled “Jack the Ripper”, ended his strange recording career with this spectacular dud. 

The Jokermen are joined by Lou Reed's biographer Anthony DeCurtis for a thoughtful conversation about one of Lou's greatest records and everything that went into it BUY "LOU REED: A LIFE" AND FOLLOW ANTHONY ON TWITTER NEW JOKERMEN MERCH AVAILABLE NOW ON JOKERMEN.NET SUBSCRIBE TO JOKERMEN ON PATREON LISTEN TO JOKERMEN THEME-TYPE RADIO: WE'RE GONNA HAVE A REAL GOOD TIME TOGETHER ON SPOTIFY AND APPLE MUSIC FOLLOW JOKERMEN ON TWITTER, INSTAGRAM, TIKTOK, AND YOUTUBE

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Lou Reed, byname of Lewis Allan Reed, (born March 2, 1942, Brooklyn, New York, U.S.—died October 27, 2013, Southampton, New York), was a singer-songwriter whose place in the rock pantheon rests primarily on his role in guiding the Velvet Underground, a New York City-based quartet that produced four poor-selling but enormously influential studio albums under Reed's direction from 1965 to 1970.After quitting the Velvets, he reemerged as a solo performer in England, where he was adopted by admirers such as glam rock pioneer David Bowie, who produced and performed on Reed's breakthrough hit, “Walk on the Wild Side” (1973), and Mott the Hoople, who covered Reed's Velvets classic “Sweet Jane.” His albums embraced everything from rote pop to heavy metal and included an orchestrated song cycle about a sadomasochistic love affair, Berlin (1973), and a double album of guitar drones, Metal Machine Music (1975), that are among his most notorious works. At the onset of the 1980s, Reed recruited his finest post-Velvets band, including guitarist Robert Quine and bassist Fernando Saunders, and reimmersed himself in raw guitar rock on The Blue Mask (1982), addressing his fears, ghosts, and joys with riveting frankness. No longer bedeviled by his addictions, Reed adopted a more-serious if less-daring tone on his recordings, peaking with three releases that were less concept albums than song cycles: New York (1989), about the spiritual death of his hometown; Songs for Drella (1990), an elegy for his 1960s mentor, Pop art conceptualist Andy Warhol, done in collaboration with former Velvets bandmate John Cale; and Magic and Loss (1991), inspired by the deaths of two friends. A romantic relationship with American performance artist and musician Laurie Anderson rejuvenated him again in the mid-1990s, resulting in the playful Set the Twilight Reeling (1997) and the harder-hitting Ecstasy (2000).In 2000–01 Reed collaborated with director Robert Wilson to bring to the stage POEtry, which was based on the work of Edgar Allan Poe. The songs from the show were also packaged, with spoken-word interludes, on The Raven (2003)—an ambitious if critically panned experiment. It was followed by Animal Serenade(2004), an excellent live recording that echoed Reed's landmark 1974 concert album Rock 'n' Roll Animal. In 2006 Reed celebrated New York City in a book, Lou Reed's New York, which collected his photography. Reed was inducted into the Rock and Roll Hall of Fame as a member of the Velvet Underground in 1996 and as a solo performer in 2015.From https://www.britannica.com/biography/Lou-Reed. Previously on The Quarantine Tapes:“I'll Be Your Mirror”: https://www.youtube.com/watch?v=ZudHYTya-dQ“I'll Be Your Mirror Lyrics”: https://genius.com/The-velvet-underground-ill-be-your-mirror-lyrics“Lou Reed, 1942-2013”: https://www.nytimes.com/2013/10/28/arts/music/lou-reed-dies-at-71.html

July 1st, 1975, 4 tracks, 64:11

Lou Reed's disastrous Metal Machine Music made 1975 a Strange Year. Instagram: https://www.instagram.com/thejasonhorton Ghost Town Podcast: https://www.ghosttownpod.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lou Reed's disastrous Metal Machine Music made 1975 a Strange Year.Instagram: https://www.instagram.com/thejasonhortonGhost Town Podcast: https://www.ghosttownpod.com

LOU REED AND METALLICA – TOGETHER AT LAST! This week we look at "Lulu" an album that is the result of the lyrical genius behind "Metal Machine Music" collaborating with the band that brought us St. Anger. What did people expect this team-up to sound like? Does Metallica have a bass player? Is this harder to listen to than a double-album of guitar feedback? How many songs include the word "vulva" in their lyrics, much less "spermless"? Could this make for a Broadway musical? Is Lou Reed a creepy old man or is he just playing a creepy old man? Did Bob Rock neuter Metallica like Sampson, or was it a happy little accident? Can Lars groove? Or just play tennis? Even if he was right about Napster, why is he so hard to take seriously? Join us for a round TABLE discussion this week on Detours and Outliers.

LOU REED AND METALLICA – TOGETHER AT LAST! This week we look at "Lulu" an album that is the result of the lyrical genius behind "Metal Machine Music" collaborating with the band that brought us St. Anger. What did people expect this team-up to sound like? Does Metallica have a bass player? Is this harder to listen to than a double-album of guitar feedback? How many songs include the word "vulva" in their lyrics, much less "spermless"? Could this make for a Broadway musical? Is Lou Reed a creepy old man or is he just playing a creepy old man? Did Bob Rock neuter Metallica like Sampson, or was it a happy little accident? Can Lars groove? Or just play tennis? Even if he was right about Napster, why is he so hard to take seriously? Join us for a round TABLE discussion this week on Detours and Outliers.

It's our biggest album on Broken Records yet, as Steve and Remfry look into Lou Reed's fifth solo album Metal Machine Music (originally aired on https://podcasts.apple.com/gb/podcast/86-bach-break-core/id1417888519?i=1000469856430 (Riot Act #86) 29th March 2020). Released in July 1975, Metal Machine Music is often derided, being a mainstay on many 'worst albums of the year' lists, but is it as bad as its reputation suggests? Or was it responsible for inventing Drone, a harsh, discordant subgenre of alternative music that still resonates with people today?

That's right, Joe and Paul walk head first into the Lou Reed's infamous album. The album that started the "REDACTED you" album to the record companies themselves. While the duo go down several tangents and rabbit holes, they do end with rating the album, is it as horrible as the stories? Listen to find out!

This week, the Game Is About Glory protects its knees further with a rational discussion on the 1-0 defeat Brighton, Kerry Packer rises from the ashes and are we living our “Metal Machine Music” moment? Tune in and find out on the top Tottenham pod out there...Brighton - TottenhamEuropean Super LeagueTottenham - ChelseaTwitter: https://twitter.com/glorygloryforumInstagram: https://www.instagram.com/the_game_is_about_glory/ See acast.com/privacy for privacy and opt-out information.

Sometimes, rock and roll dreams can get waylaid, subdued, or even killed by the signing of the line which is dotted. This episode would take 1,000 hours if we only include black artists from the '40s, '50s, and '60s. And '70s, '80s, and '90s. And '00s and '10s. So I just focused on the easy-hanging fruit that is the people who ALSO profited from the hard work of black musicians to make their palatable caucasian crafting.    Adam VIII John Lennon "Roots" Commercial (1975)   What a shitty, washed-out picture. This gives you the idea that Morris Levy just wanted to fuck with Lennon to pay him back for his hubris. Devout (at the time) fans of Lennon like me were perplexed when the last track on "Walls And Bridges" was a strangely shoddy cover of "Ya Ya" with Julian Lennon on drums. Little did we know that that was John Lennon "fulfilling a legal obligation". Just like a junkie would. I don't think anyone would think of Morris Levy as anything but a very sleazy anti-art leech, but that little joke was probably the last straw. "What the fuck is this washed-up hippy doing, and does he know what I can do to him?" Did this whole thing sour Lennon on recording more music, and did he sense his own waning desire to compete with McCartney and use this whole sorry escapade as a good excuse to spend some time in Japan?  Lennon was as dishonest and immature as he was gifted, and we will never know for sure.  The insert. Almost as insulting as "The Wedding Album".  Marvin Gaye - Where Are We Going? (1972) I talk to you like you know at least something about popular music. If you don't, let me be the first to tell you that Marvin Gaye recorded an album AFTER "What's Going On" and BEFORE "Let's Get It On". "You're The Man" was intended as another socially conscious record like "What's Going On" (1971), but following the release of its lead single, the title track "You're The Man", [ed: and the lack of positive reaction to same] Gaye canceled its release. [ed: I like this record a lot.] This was in part due to the reception of the song, as well as the fact that Gaye's political views were different from those of Motown founder Berry Gordy. For these reasons, "You're The Man" was long considered a lost album. Marvin Gaye - You're The Man (Pts. I&II) (1972) Marvin Gaye - The World Is Rated X (1972) Lou Reed - Metal Machine Music (1975) Like The Beach Boys, Bob Dylan, etc., some artists tend to benefit from revisionist history. No, "Metal Machine Music" is not a deep, thoughtful cry for help from a misunderstood genius. This was nothing but a big "fuck you" to RCA, which is sad to me because there were so many more talented, interesting, and profound artists than Lou Reed, struggling for royalties, swimming against the tide of record comp.....wait. Maybe he had a point.  ...but it's STILL not as bad as "Having Fun On Stage With Elvis". Badfinger - Apple Of My Eye (1973) Lookie here.  Badfinger - Get Away (1973) So you all know the struggles that Badfinger enjoyed with Stan Polley, who once managed one of my favorite singers, Lou Christie. But Badfinger also suffered under the weight of the lethargic promotion afforded them by The Beatles and Apple Records. This was THEIR Contractual Obligation album, and it's not bad at all. Guys that talented could never turn in a clunker.  From Loudersound:  (In 1973) Apple was in disarray, but Badfinger – by far the label’s most successful artists after The Beatles – had further cause for complaint. Their original contract, drawn up in the days when Apple was living up to its fair-minded (i.e. hippy) ideals, offered a generous artist royalty of 5 percent, with Apple also paying for all recording and promotion expenses. Now, with legendary US tough guy Allen Klein running the company, the band were being asked to not only take a reduced royalty rate but also to pay recording costs. George Harrison, for one, was devastated at the loss from the label of a group he held dear, and allegedly (and uncharacteristically) confronted Bill Collins [ed: their manager since 1966) and said: “You guys fucked us after we did all that work for you.” Collins retorted that they had been unable to speak to their former champion directly (an accusation that rings true with all the superstar retinue surrounding the former Beatle), let alone with the formidable Klein. In retrospect, Badfinger’s departure marked the beginning of the end of Apple as anything other than a ‘vanity’ label for John, Paul, George, and Ringo. But the inevitable payback was Apple issuing Ass (as the 1973 album ended up being rather unflatteringly called) as a spoiler three months ahead of the band’s debut for their new label. As it transpired, Ass would be the final non-Beatles album to appear on Apple (it reached No. 122 in the US). One track, Pete Ham’s Apple Of My Eye, was a genuinely fond farewell to their former paymasters, and he contributed only one other; much of the music was written by Joey Molland, which gave it a different feel. Al Steckler, the man who had given Badfinger ‘their’ gold disc in New York City, was later incredibly revealing to Stefan Granados, author of the invaluable Apple history Those Were The Days (Cherry Red Books) when he outlined the contract Badfinger signed with Warner Brothers. A band at the peak of their powers, with a track record of US success and the Beatles’ imprimatur, might have thought their next record deal would set them up for life. Not so. The advance, which looked good on paper, was $2 million for, Steckler told Granados: “something like six albums. After they signed, Bill Collins and Pete Ham told me what the advance was and I figured it out for them. When you deducted the cost of the albums they had to pay for, deducted Polley’s cut, and split the money between Collins and the four guys in the group, it came out to nothing… $60,000 apiece per album. They’d really thought they were millionaires. They looked at each other and realized that I was right and that it was too late to do anything about it. Peter had this horrible look on his face… it was the last time I saw him.” Badfinger - Timeless (1973) Bonzo Dog Band - King of Scurf (1971) Neil Innes wrote music for Monty Python and starred in "All You Need is Cash" with Eric idle. He was brilliant and he wrote songs that you know but don't know that it was him. I never liked this group, but as I mentioned in my show, they were in Magical Mystery Tour. These songs were recorded in 1971, a few years after they broke up. But the United Artists label pointed the Fickle Finger of Fate at the boys, and we have this.  Bonzo Dog Band - The Strain (1971)  Bonzo Dog Band - Bad Blood (1971) ELP - Memoirs of an Officer and a Gentleman (1978) The Mamas and the Papas - Blueberries For Breakfast (1971) Like the Bonzos, they were gently reminded by the bean-counters at Dunhill that there was some unfinished business. So they created this. Again, not that bad!  The Mamas and the Papas - Lady Genevieve (1971) For a drug-addled, amoral daughter-fucker, John Phillips sure wrote a lot of songs about his wife.  The Mamas and the Papas - Pacific Coast Highway (1971) The Mamas and the Papas - People Like Us (1971)

This week, I'm thinking about the concept of boldness.  Taking chances.  I don't know about you, but I've not exactly been keen to step up and do something out of the ordinary, and I've been wondering why.  Is it because of the past year?  Is it because I've set expectations of what I should or shouldn't do?  Am I assuming you have expectations of what I do?  Am I just scared?  Maybe a little of all three if I'm honest with myself.   That said, back on episode 372 of this fine bit of poddlement I talked about a period of self-reflection on turning 50 and what I was and wasn't willing to deal with anymore.   The more I think about it, the more I'm not willing to be afraid of taking chances with what I do.  More to the point, I'm dropping some baggage related to it.  For years, I've had this battle in my head about being one thing all the time or being Roley, who is not one thing all the time.  I got reminded of this the other night listening to an album that should have never been made.  Lou Reed's Metal Machine Music.   There are many stories about this album being a fuck you to fans or a way to get out of a record contract, but let's put that all aside for a moment.  At its core, Metal Machine Music is an experiment.   It's discordant, and it's screechy, it's industrial, it's grating.  All of that is true.  But do you have any doubt that much of the guitar work we see today, or some of the most popular bands in the past 40 years, have listened to this at least once?  I guarantee you Trent Reznor has.  I think one of the most critical failures in rock music in its 65-year history gave birth to ideas we didn't see until much later, and that's the triumph of it.  But the real message is in the liner notes of the album.  He writes, “Most of you won’t like this, and I don’t blame you at all. It’s not meant for you.”   He's right. It wasn't.  It was an experiment and an exercise in indulgence.  It's the sonic act of music folding back on itself and collapsing, of electricity copulating and feedback exploding until all you hear is a wall of fuck you, clear as day.It's the creative act of a mad scientist, and it's fucking brilliant.  Want another example?  Look at David Bowie.   Any version, because there are so many versions of David Bowie and so many different music styles you can find with him, is the point.  Bob Dylan, too.   They made the albums they wanted to make for the most part, and if you didn't like the new one, you knew that the next one was going to be different.  You didn't like the African vibe on Paul Simon's Graceland?  Cool.  Check out The Rhythm of The Saints, and it's Latin influence.  David Byrne ANY GODDAMN THING.Bjork left Planet Earth and does what she wants, and people dig it, or they don't.  They decided that they could be bold.  They took chances.  Some didn't work.  Some didn't work at the time.  Some are home runs from the gate.   All of it was an idea they couldn't wait to work on.If we're looking for permission to be ourselves and do the thing we want and be unafraid and unapologetic, I think Lou Reed gave it to us decades ago.   Do the thing.  Be bold.  Take chances, and stop caring what people think.  So!  If you had no fear, what is your bold creative project?   Use the hashtag #boldcreate2021 and share it with me.  There may be a surprise in store for people who share.  

Episode 20 Sounds of Industry Industrial Noise Music Playlist: Throbbing Gristle, “Maggot Death Pt 1” studio recording from The Second Annual Report (1977 Industrial Records). Chris Carter and Cosey Fanni Tutti. Peter Bartok, Peter Paul Kellog, “Pump Drill” from Sound Patterns (1953 Folkways). Recording of a pump. Pierre Henry, “Spatiodynamisme II” (excerpt) from an exhibition catalog for work by Nicolas Schöffer (1963 Éditions Du Griffon). Henry used sound materials he recorded in 1954 from a kinetic sculpture by Schöffer. David Jackman, “Machine Gun 2” from Machine Gun (2000 Die Stadt). This was the first of a series of works Jackman created using the archive recordings of the "Imperial War Museum" in London. This was an edition of 600 copies on clear vinyl. Emory Cook, “Festival” (excerpt) from Mexican Firecrackers (1956 Cook). Church bells and Firecrackers before dawn, Ajijic, Mexico. Cabaret Voltaire, “4th Shot” from the album Mix-Up (1979 Rough). Stephen Mallinder, Chris Watson, Haydn Boyes-Weston, and Richard H. Kirk. David Jackman, “Flak” from the EP Flak (2003 Die Stadt). George Engler, “Metallurgy” from The Inside Of The Outside / Or The Outside Of The Inside - Who Are They? Where Do They Come From? Why Are They Here? (1965 Serenus). A set of tape works using instruments and natural sounds set to themes of industry and space travel. George Engler, “Destruction” from The Inside Of The Outside / Or The Outside Of The Inside - Who Are They? Where Do They Come From? Why Are They Here? (1965 Serenus). Merzbow, “Material Action Track 2” from the cassette Material Action (1984 ZSF Produkt). Masami Akita and Kiyoshi Mizutani. Throbbing Gristle, “Beachy Head” from 20 Jazz Funk Greats (1979 Industrial Records). Chris Carter and Cosey Fanni Tutti. “ Engine Running” from Motor Car Noises, a sound-effects record (1931 His Master's Voice). “Street Traffic Noises” Recorded at a London Street Junction,” a field recording. (1923 Columbia, UK). Leo Hurwitz, “City Edge: The Coves of Manhattan Island” (excerpt) from Here At The Waters' Edge 1 (1962 Folkways). Tape collage to accompany a documentary film. R. Murray Schafer, “Music of Horns and Whistles” from The Vancouver Soundscape (1973 Ensemble Productions). Bruce Davis, Colin Miles, Barry Truax, Howard Broomfield, Peter Huse, and R. Murray Schafer. All the sounds were recorded between September 1972 and August 1973. Part of the World Soundscape Project founded by Schafer. John Pfeiffer, “After Hours” from Electronomusic (1968 RCA Victrola). The sounds of office machines used in business, edited as a tape collage. Cabaret Voltaire, “Everything is True” from International Language (1993 Plastex). From the liner notes: “Abandon thinking. Everything you will hear in the next seventy-four minutes is true.” Stephen Mallinder, Chris Watson, Haydn Boyes-Weston, and Richard H. Kirk.   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of industrial music: David Jackman, “Flak” from the EP Flak (2003 Die Stadt). Same as earlier track but played at 33-1/3 speed. Lou Reed, Metal Machine Music, Side B, excerpt (1975 RCA).   For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   Notes for this episode can be found on my blog: Noise and Notations.

How do you approach the music of John Cale? He supposedly butted heads with Lou Reed in the Velvet Underground for being too experimental....the creator of Metal Machine Music didn't like that Cale was too experimental!!!!Welcome to episode 137 of Love That Album podcast.I am joined by my partner from the See Hear podcast, Bernard Stickwell and first time guest and music-head Fnord Buissant (aka Doug to his family). The central focus of the show is John Cale's most musically accessible album Paris 1919 (but is lyrically dense). The album is named for the post-WW1 Paris Peace Accords, so we explore how 20th century European history (as well as literature and cinema) dictated the subject matter of these songs.Of course it wouldn't be an LTA episode without much some peripheral discussion about Cale's career in the Velvet Underground, his work as a producer, how he came to write a (none too flattering) song about Soft Machine songwriter Kevin Ayres, Oliver Reed, Dylan Thomas....and a ton of other things.It's been way too long since Bernie did an LTA, so I was really happy to have his perspective (and his recommendation) of this album. Huge thanks also go out to Doug for making the first of hopefully many appearances on the show – the man knows his stuff.Download this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”). Love That Album is proudly part of the Pantheon Podcast network..You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum.If you'd consider writing an iTunes review we'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a (socially distanced) barbecue, over coffee (on Skype), on social media….whatever way you choose, consider me grateful.

How do you approach the music of John Cale? He supposedly butted heads with Lou Reed in the Velvet Underground for being too experimental....the creator of Metal Machine Music didn't like that Cale was too experimental!!!! Welcome to episode 137 of Love That Album podcast. I am joined by my partner from the See Hear podcast, Bernard Stickwell and first time guest and music-head Fnord Buissant (aka Doug to his family). The central focus of the show is John Cale's most musically accessible album Paris 1919 (but is lyrically dense). The album is named for the post-WW1 Paris Peace Accords, so we explore how 20th century European history (as well as literature and cinema) dictated the subject matter of these songs. Of course it wouldn't be an LTA episode without much some peripheral discussion about Cale's career in the Velvet Underground, his work as a producer, how he came to write a (none too flattering) song about Soft Machine songwriter Kevin Ayres, Oliver Reed, Dylan Thomas....and a ton of other things. It's been way too long since Bernie did an LTA, so I was really happy to have his perspective (and his recommendation) of this album. Huge thanks also go out to Doug for making the first of hopefully many appearances on the show – the man knows his stuff. Download this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”). Love That Album is proudly part of the Pantheon Podcast network.. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum. If you’d consider writing an iTunes review we’d be immensely grateful. However, it’d be even better if you told a friend about the podcast and Pantheon – at a (socially distanced) barbecue, over coffee (on Skype), on social media….whatever way you choose, consider me grateful.

How do you approach the music of John Cale? He supposedly butted heads with Lou Reed in the Velvet Underground for being too experimental....the creator of Metal Machine Music didn't like that Cale was too experimental!!!!Welcome to episode 137 of Love That Album podcast.I am joined by my partner from the See Hear podcast, Bernard Stickwell and first time guest and music-head Fnord Buissant (aka Doug to his family). The central focus of the show is John Cale's most musically accessible album Paris 1919 (but is lyrically dense). The album is named for the post-WW1 Paris Peace Accords, so we explore how 20th century European history (as well as literature and cinema) dictated the subject matter of these songs.Of course it wouldn't be an LTA episode without much some peripheral discussion about Cale's career in the Velvet Underground, his work as a producer, how he came to write a (none too flattering) song about Soft Machine songwriter Kevin Ayres, Oliver Reed, Dylan Thomas....and a ton of other things. It's been way too long since Bernie did an LTA, so I was really happy to have his perspective (and his recommendation) of this album. Huge thanks also go out to Doug for making the first of hopefully many appearances on the show – the man knows his stuff.Download this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”). Love That Album is proudly part of the Pantheon Podcast network..You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum.If you'd consider writing an iTunes review we'd be immensely grateful. However, it'd be even better if you told a friend about the podcast and Pantheon – at a (socially distanced) barbecue, over coffee (on Skype), on social media….whatever way you choose, consider me grateful.

How do you approach the music of John Cale? He supposedly butted heads with Lou Reed in the Velvet Underground for being too experimental....the creator of Metal Machine Music didn't like that Cale was too experimental!!!! Welcome to episode 137 of Love That Album podcast. I am joined by my partner from the See Hear podcast, Bernard Stickwell and first time guest and music-head Fnord Buissant (aka Doug to his family). The central focus of the show is John Cale's most musically accessible album Paris 1919 (but is lyrically dense). The album is named for the post-WW1 Paris Peace Accords, so we explore how 20th century European history (as well as literature and cinema) dictated the subject matter of these songs. Of course it wouldn't be an LTA episode without much some peripheral discussion about Cale's career in the Velvet Underground, his work as a producer, how he came to write a (none too flattering) song about Soft Machine songwriter Kevin Ayres, Oliver Reed, Dylan Thomas....and a ton of other things. It's been way too long since Bernie did an LTA, so I was really happy to have his perspective (and his recommendation) of this album. Huge thanks also go out to Doug for making the first of hopefully many appearances on the show – the man knows his stuff. Download this episode of LTA from Spotify, Stitcher or iTunes (search for “Love That Album podcast”). Love That Album is proudly part of the Pantheon Podcast network.. You can send me feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum. If you’d consider writing an iTunes review we’d be immensely grateful. However, it’d be even better if you told a friend about the podcast and Pantheon – at a (socially distanced) barbecue, over coffee (on Skype), on social media….whatever way you choose, consider me grateful.

Like it or not, we are all chained to our past. What we have done slowly becomes who we are. This holds especially true for musicians as they constantly struggle against what they have already created for the world to behold. The pieces of art that fans, labels, journalists, and maybe themselves become forever tethered to their identity. The crusty joke about “I like their old stuff better” is often truly a death knell for a band's growth. An artist is frozen in time by their own past success. Why try anything new if it won't matter to most of the people who care about your product anyway? And, frankly, for a lot of bands, they're damned if they do and damned if they don't. Changing styles might spark the sell-out or jumped the shark chants with angry mobs carrying pitchforks and reading Pitchfork. If you don't, though, you risk growing stale and fading away.Some bands lean into a stylistic steadfastness and can compel allegiance through sheer resolute commitment. The Ramones, Motorhead, and the Cramps built a brand on a singular style, albeit their own very unique style. Most artists with some longevity, ebb and flow, grow and retreat, but hang around their general vicinity of comfort. There are tons of examples of this. Artists like Wilco, REM, Willie Nelson, Rolling Stones, etc. It goes on and on. Some artists reinvent themselves constantly throughout their careers but never to a completely unrecognizable degree. This would include David Bowie, Prince, Madonna, and Bob Dylan. Some simply pinball from one horrific sound to the next. Sting, for example, and his tantrically mediocre existence. Some artists might occasionally take an oddball flier on a totally random genre record that exists squarely outside of their cannon, maybe for fun, or by accident, or out of contract obligations...think Serge Gainsbourg's Reggae album, Ween's country album, Neil Young's Trans, Metal Machine Music, Pat Boone's unfortunately satisfying metal album, and of course, the oft cited here, Chris Gaines taking off the goatee mask to become Garth Brooks. These often sound more on the wrong side of the “novelty to homage” scale. However, there are a few rare cases when an artist completely reinvents themselves, elevating the limits of ambition and shattering preconceived notions of their music. Scott Walker left behind his teeny bopper career to become a pork-pounding master of the avant-garde. Tom Waits evolved from a barroom balladeer to a carnival barking madman. Brian Eno disrobed from his leopard print glam tendencies to essentially single-handedly herald in ambient music. And finally, Talk Talk who started as a group of synth-toting Duran Duran doppelganger doppelgangers to being at the forefront of the post-rock movement.As we continue to delve into different forms of isolation shaped and sculpted into musical artifacts, Talk Talk's Laughing Stock is intentionally distancing from the sentiment and bias of the past. A band that desperately works to create space and blatant disregard from what they are supposed to be. And in the end, it turns out to be too destructive of a force for the group to continue. Highway Hi-Fi is a proud member of the Pantheon Music Podcast Network - Home of the Finest Music Podcasts

Like it or not, we are all chained to our past. What we have done slowly becomes who we are. This holds especially true for musicians as they constantly struggle against what they have already created for the world to behold. The pieces of art that fans, labels, journalists, and maybe themselves become forever tethered to their identity. The crusty joke about “I like their old stuff better” is often truly a death knell for a band’s growth. An artist is frozen in time by their own past success. Why try anything new if it won’t matter to most of the people who care about your product anyway? And, frankly, for a lot of bands, they’re damned if they do and damned if they don’t. Changing styles might spark the sell-out or jumped the shark chants with angry mobs carrying pitchforks and reading Pitchfork. If you don’t, though, you risk growing stale and fading away. Some bands lean into a stylistic steadfastness and can compel allegiance through sheer resolute commitment. The Ramones, Motorhead, and the Cramps built a brand on a singular style, albeit their own very unique style. Most artists with some longevity, ebb and flow, grow and retreat, but hang around their general vicinity of comfort. There are tons of examples of this. Artists like Wilco, REM, Willie Nelson, Rolling Stones, etc. It goes on and on. Some artists reinvent themselves constantly throughout their careers but never to a completely unrecognizable degree. This would include David Bowie, Prince, Madonna, and Bob Dylan. Some simply pinball from one horrific sound to the next. Sting, for example, and his tantrically mediocre existence. Some artists might occasionally take an oddball flier on a totally random genre record that exists squarely outside of their cannon, maybe for fun, or by accident, or out of contract obligations...think Serge Gainsbourg’s Reggae album, Ween’s country album, Neil Young’s Trans, Metal Machine Music, Pat Boone’s unfortunately satisfying metal album, and of course, the oft cited here, Chris Gaines taking off the goatee mask to become Garth Brooks. These often sound more on the wrong side of the “novelty to homage” scale. However, there are a few rare cases when an artist completely reinvents themselves, elevating the limits of ambition and shattering preconceived notions of their music. Scott Walker left behind his teeny bopper career to become a pork-pounding master of the avant-garde. Tom Waits evolved from a barroom balladeer to a carnival barking madman. Brian Eno disrobed from his leopard print glam tendencies to essentially single-handedly herald in ambient music. And finally, Talk Talk who started as a group of synth-toting Duran Duran doppelganger doppelgangers to being at the forefront of the post-rock movement. As we continue to delve into different forms of isolation shaped and sculpted into musical artifacts, Talk Talk’s Laughing Stock is intentionally distancing from the sentiment and bias of the past. A band that desperately works to create space and blatant disregard from what they are supposed to be. And in the end, it turns out to be too destructive of a force for the group to continue.  Highway Hi-Fi is a proud member of the Pantheon Music Podcast Network - Home of the Finest Music Podcasts

Like it or not, we are all chained to our past. What we have done slowly becomes who we are.  This holds especially true for musicians as they constantly struggle against what they have already created for the world to behold. The pieces of art that fans, labels, journalists, and maybe themselves become forever tethered to their identity. The crusty joke about “I like their old stuff better” is often truly a death knell for a band's growth. An artist is frozen in time by their own past success. Why try anything new if it won't matter to most of the people who care about your product anyway? And, frankly, for a lot of bands, they're damned if they do and damned if they don't. Changing styles might spark the sell-out or jumped the shark chants with angry mobs carrying pitchforks and reading Pitchfork. If you don't, though, you risk growing stale and fading away.Some bands lean into a stylistic steadfastness and can compel allegiance through sheer resolute commitment. The Ramones, Motorhead, and the Cramps built a brand on a singular style, albeit their own very unique style. Most artists with some longevity, ebb and flow, grow and retreat, but hang around their general vicinity of comfort. There are tons of examples of this. Artists like Wilco, REM, Willie Nelson, Rolling Stones, etc. It goes on and on. Some artists reinvent themselves constantly throughout their careers but never to a completely unrecognizable degree. This would include David Bowie, Prince, Madonna, and Bob Dylan. Some simply pinball from one horrific sound to the next. Sting, for example, and his tantrically mediocre existence. Some artists might occasionally take an oddball flier on a totally random genre record that exists squarely outside of their cannon, maybe for fun, or by accident, or out of contract obligations...think Serge Gainsbourg's Reggae album, Ween's country album, Neil Young's Trans, Metal Machine Music, Pat Boone's unfortunately satisfying metal album, and of course, the oft cited here, Chris Gaines taking off the goatee mask to become Garth Brooks. These often sound more on the wrong side of the “novelty to homage” scale. However, there are a few rare cases when an artist completely reinvents themselves, elevating the limits of ambition and shattering preconceived notions of their music. Scott Walker left behind his teeny bopper career to become a pork-pounding master of the avant-garde. Tom Waits evolved from a barroom balladeer to a carnival barking madman. Brian Eno disrobed from his leopard print glam tendencies to essentially single-handedly herald in ambient music. And finally, Talk Talk who started as a group of synth-toting Duran Duran doppelganger doppelgangers to being at the forefront of the post-rock movement. As we continue to delve into different forms of isolation shaped and sculpted into musical artifacts, Talk Talk's Laughing Stock is intentionally distancing from the sentiment and bias of the past. A band that desperately works to create space and blatant disregard from what they are supposed to be. And in the end, it turns out to be too destructive of a force for the group to continue.   Highway Hi-Fi is a proud member of the Pantheon Music Podcast Network - Home of the Finest Music Podcasts

Like it or not, we are all chained to our past. What we have done slowly becomes who we are.  This holds especially true for musicians as they constantly struggle against what they have already created for the world to behold. The pieces of art that fans, labels, journalists, and maybe themselves become forever tethered to their identity. The crusty joke about “I like their old stuff better” is often truly a death knell for a band’s growth. An artist is frozen in time by their own past success. Why try anything new if it won’t matter to most of the people who care about your product anyway? And, frankly, for a lot of bands, they’re damned if they do and damned if they don’t. Changing styles might spark the sell-out or jumped the shark chants with angry mobs carrying pitchforks and reading Pitchfork. If you don’t, though, you risk growing stale and fading away. Some bands lean into a stylistic steadfastness and can compel allegiance through sheer resolute commitment. The Ramones, Motorhead, and the Cramps built a brand on a singular style, albeit their own very unique style. Most artists with some longevity, ebb and flow, grow and retreat, but hang around their general vicinity of comfort. There are tons of examples of this. Artists like Wilco, REM, Willie Nelson, Rolling Stones, etc. It goes on and on. Some artists reinvent themselves constantly throughout their careers but never to a completely unrecognizable degree. This would include David Bowie, Prince, Madonna, and Bob Dylan. Some simply pinball from one horrific sound to the next. Sting, for example, and his tantrically mediocre existence. Some artists might occasionally take an oddball flier on a totally random genre record that exists squarely outside of their cannon, maybe for fun, or by accident, or out of contract obligations...think Serge Gainsbourg’s Reggae album, Ween’s country album, Neil Young’s Trans, Metal Machine Music, Pat Boone’s unfortunately satisfying metal album, and of course, the oft cited here, Chris Gaines taking off the goatee mask to become Garth Brooks. These often sound more on the wrong side of the “novelty to homage” scale. However, there are a few rare cases when an artist completely reinvents themselves, elevating the limits of ambition and shattering preconceived notions of their music. Scott Walker left behind his teeny bopper career to become a pork-pounding master of the avant-garde. Tom Waits evolved from a barroom balladeer to a carnival barking madman. Brian Eno disrobed from his leopard print glam tendencies to essentially single-handedly herald in ambient music. And finally, Talk Talk who started as a group of synth-toting Duran Duran doppelganger doppelgangers to being at the forefront of the post-rock movement. As we continue to delve into different forms of isolation shaped and sculpted into musical artifacts, Talk Talk’s Laughing Stock is intentionally distancing from the sentiment and bias of the past. A band that desperately works to create space and blatant disregard from what they are supposed to be. And in the end, it turns out to be too destructive of a force for the group to continue.   Highway Hi-Fi is a proud member of the Pantheon Music Podcast Network - Home of the Finest Music Podcasts

In 1974, Lou Reed had a top 10 album with Sally Can’t Dance. His label, RCA Records, pushed him to release another album quickly. What they got was a double album of nothing but noisy feedback and guitar effects. This is the story of Lou Reed's Metal Machine Music from 1975. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bizarrealbums/support

R4 #43- Aaron flies solo this episode as he reviews Lou Reed's 1975 album Metal Machine Music! Rock on! Contact Aaron at ridiculousrockrecords@gmail.com , or also on the Ridiculous Rock Record Reviews Facebook page. https://www.facebook.com/R4podcast/ Twitter: https://twitter.com/R4podcastAaron Instagram: https://www.instagram.com/r4podcaster/

Remfry and Steve's enforced bout of self-isolation means that the podcast is being recorded remotely for the first time in Riot Act's almost two year history ... the boys give you the skinny on the latest releases by Pearl Jam, Nine Inch Nails, Milk Teeth, Igorrr and Irist all the while grappling with 21st century communication technology. And this week's Broken Record comes courtesy of Lou Reed's regular 'worst album ever' poll mainstay Metal Machine Music from 1975 See acast.com/privacy for privacy and opt-out information.

    John Schooley duets with punk rock harmonica player Walter Daniels in an empty shopping mall. This is Dead Mall Blues and it's one awesome recording. Recorded back in 2014 it features John Schooley on resonator guitar and Walter Daniels on harmonica. It's an eclectic mix up of reworked classic blues tunes from way back. The cover artwork is a collection of photographs of "dead malls". It's really thought provoking and eerie to see the malls with no people milling about in them. It sort of sets the tone for the record really. The music certainly has a haunting quality and a theme of empty space runs through the recording. It was really difficult to pick just one track to feature on today's show, the LP is just brimming with belting tunes. We've been lucky enough to catch up with John Schooley, so read on to find out more about this unique recording and the man himself. More stuff you'll learn today We're also introducing you to The Rezillos by way of a back to back Double Cover Shot. Two classics from the late '70s punk explosion, but covers of far earlier recordings from the rock 'n' roll era. The Rezillos are touring in the UK during 2020 so if this was for you then get your tickets for their brilliant live shows. Really tight band and still as good as they were back in the day. New Music from Tobin this week is French for Rabbits which inspires Richard to imagine the day when he might mastermind a supergroup. It's material that you can subscribe to via our Patreon site for just $1 per month. Your generosity would help us continue broadcasting and expanding. Whether or not you donate we are just glad that you are here. Bookending the show this week is SAULT and they've really got Tobin in a spin. So much so that he's gone right ahead and purchased their two studio releases on vinyl. Sadly, we're not playing off of the vinyl this week, but we will do so in the future without doubt. Toucan and Bones Shake both feature in our ongoing "Guess where the band comes from" game and Tobin fails on both accounts. BIG NEWS - STOP PRESS We are announcing some big news for From the Bottom of the Record Box on this week's show. So, get your headphones on, ignore the outside world and come on in. Champe Tabluo by Systema Solar set the tone for the announcement, and their Colombian heritage is the perfect stage to break the news. Over SAULT Champe Tabluo Systema Solar Glad All Over The Rezillos I Like It The Rezillos We Fell For Miles Toucan Uncloudy Day John Schooley and Walter Daniels C'mon Get It On Bones Shake Middle of the House French for Rabbits Masterpiece SAULT John Schooley in his own words I grew up on a farm in the middle of nowhere, and my first musical influences were guitar-based roots music like blues and country music. I later combined this with punk rock when I finally heard it. I've been playing this sort of rock n' roll (for want of a better term) for going on 20 years. My first record was a super lo-fi 45 on Goner Records as a one man band. My first band was the Revelators who had an LP on Crypt Records. That label that put out the Back from the Grave 1960s garage reissues, and bands such as the Gories and Oblivians. Whilst in the Revelators I was lucky enough to do some touring with R.L. Burnside and T. Model Ford. Luckily I got to play onstage backing up R.L., which was a huge thrill for me as I was (and remain) a big R.L. fan. There are some clips of me playing with R.L. here. After the Revelators I had three LPs as a one man band on Swiss label Voodoo Rhythm, which had a similar mix of blues, country, and punk rock. There was also other weird shit as we had in the Revelators, except I played all the instruments myself. So I've always had one foot in noisy punk and garage rock, and one in roots based music. Usually, too punk for the roots rockers and too rootsy for the punks! Europe meets John Schooley One review of my last one man band album described it as "CharliePoole meets Metal Machine Music". I thought that was great, but you can understand it probably has a limited appeal. A radio show in Canada did a whole set of my covers of blues and roots tunes, along with the originals, which I posted on my blog. I toured a lot in Europe as a one man band as the records, being Swiss imports, were hard to find in the states. So it seems like fewer people in my own country know who I am than in Germany, Holland, or Switzerland. The Revelators actually did a reunion show in Spain two years ago. People there still remember the band. After three one man band LPs I was tired of the one man band setup and wanted to do something different. My newest LP is as Rocket 808, which I would describe as Suicide and Alan Vega solo records meets Link Wray. Dead Mall Blues - John Schooley & Walter Daniels The Dead Mall Blues album is an acoustic record that I made with Walter Daniels. Walter is a friend I've known for years. We actually first recorded together back in the late 1990s with the Revelators. He's also done records with bands like the Oblivians, and even James Williamson of the Stooges. Walter's 1990s band Jack O' Fire was in the same ballpark as my band the Revelators. They both combined blues and punk rock, which at the time was pretty uncommon. I slept on Walter's floor the first time I came to Austin when on tour, and later ended up moving here. So, I've been a fan of Walter for ages, and as a punk rock harmonica player, he's a pretty unique musician. Here's Jack O' Fire's version of the Blind Willie McTell tune You Got to Meet Death One Day. https://www.youtube.com/watch?v=ztQjP-XcvAE Life after Dead Mall Blues After the acoustic record, we did an electric LP with the band name Meet Your Death taken from this song. In 2014 I got a new job that paid a living wage, and my landlord had yet to raise my rent, so I had enough money laying around to do some recording. Walter had never been recorded in an acoustic context, he usually plays feedback-laden electric harmonica. Walter and I were both big fans of acoustic blues and played it a lot, but had never done a record like that. Gerard Cosloy of 12XU records was willing to put it out, for which I am eternally grateful, even though his label did more post-punk stuff and wasn't exactly a blues and roots kinda outfit. I did a post on my blog talking about the records that influenced the album Even more time had elapsed between 2014 when the Dead Mall Blues album was recorded and the 1960s, when many of the records mentioned in that blog post were made, than had elapsed between the 1960s and when the original blues records were recorded, which was interesting to me. I went with the title Dead Mall Blues because I wanted something contemporary rather than retreading the usual tired blues cliches. Using the mall photos on the cover made me think of the record as being like an acoustic vaporwave album! (Haha)

There are a lot of songwriters out there with large bodies of work, but not a lot as openly honest and street level as Lou Reed (1942-2013). Lou passed away before I started the show, so I never got to do an RIP show for him, but I think the scene shows I used to do can be filled with overview shows every now and then, so I wanted to start that tradition by giving you one on Lou Reed, who wrote the first song I ever remember hearing in my life, "Heroin."  As with all scene shows, it runs a bit longer (about 3 hours), and features a bit more of me talking, so if that's not your bag, we'll see you next week. For the rest of you, let's spend three hours talking about the street poet of NYC, Lou Reed, and the Velvet Underground. Over the 3 hours, we'll cover the Velvets (with and without Nico), Lou's relationship with Andy Warhol, his relationship with a transgender woman named Rachel, the utter FU that is "Metal Machine Music," the rediscovery of Lou's work in the late 80s, the brief revival of the Velvets, his resurgence in the 90s, the mostly quiet aughts, and the final record he made with Metallica, "Lulu," that a bunch of people don't like, but me and David Bowie both love. Still miss ya, Lou. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Setlist: "Heroin" - The Velvet Underground & Nico "I'm Waiting For The Man" - The Velvet Underground & Nico "Femme Fatale" - The Velvet Underground & Nico "White Light / White Heat" - The Velvet Underground "Pale Blue Eyes" - The Velvet Underground "Rock & Roll" - The Velvet Underground "I Can't Stand It" - Lou Reed "Walk On The Wild Side" - Lou Reed "Caroline Says II" - Lou Reed "Sally Can't Dance" - Lou Reed excerpt from "Metal Machine Music, Part I" - Lou Reed "Charley's Girl" - Lou Reed "I Believe In Love" - Lou Reed "Street Hassle" - Lou Reed "City Lights" - Lou Reed "The Power Of Positive Drinking" - Lou Reed "The Blue Mask" - Lou Reed "Bottoming Out" - Lou Reed "I Love You, Suzanne" - Lou Reed "The Original Wrapper" - Lou Reed "Romeo Had Juliette" - Lou Reed "Last Great American Whale" - Lou Reed "Hello It's Me" - John Cale & Lou Reed "Satellite Of Love (live)" U2 & Lou Reed "Perfect Day" - Lou Reed "NYC Man" - Lou Reed "Who Am I? (Triptena's Song)" - Lou Reed "Dirty Blvd. (Live)" - Lou Reed "Tranquilize" - The Killers (ft. Lou Reed) "The Wanderlust" - Metric (ft. Lou Reed) "Wind Coda" - Lou Reed "Junior Dad" - Lou Reed & Metallica

La Mélodie du Bonheur, c'est un podcast hebdomadaire consacré à la musique. Chaque semaine, un album passe dans notre viseur, dans un cycle trois actus, un hors-actu. L'album de la semaine : Comme tous les quatre épisodes, c'est l'heure du hors-actu. Cette fois, c'est Pierre, qui vient proposer le sien. Lui, Michaël et Wazoo parlent de Metal Machine Music, album de Lou Reed sorti en juillet 1975. Les recommandations : • Michaël : les sonates de Domenico Scarlatti interprétées par Pierre Hantaï, notamment la 456ème• Pierre : les court-métrages de D. W. Griffith• Wazoo : Katana Zero, jeu vidéo développé par Askiisoft Tracklist : • Générique de début : Michel Polnareff – Une simple mélodie ; Star Academy – La Musique• Album de la semaine : Lou Reed - Metal Machine Music ; Lou Reed's Metal Machine Trio - Night One• Quiz : Sleaford Mods - Tweet Tweet Tweet ; Joni Mitchell - Big Yellow Taxi ; These New Puritans - We Want War ; Serge Gainsbourg - La javanaise ; Brian Eno - King's Lead Hat ; Crosby, Stills & Nash - Helplessly Hoping ; Alain Bashung - J'passe pour une caravane ; Nick Cave and The Bad Seeds - As I Sat Sadly by Her Side ; Common - Communism ; Robert Wyatt - Little Red Riding Hood Hit the Road ; Bob Dylan - Mr. Tambourine Man ; Noir Désir - Des visages des figures ; Einstürzende Neubauten - NNNAAAMMM ; Blackalicious - Alphabet Aerobics• Morceau de fin : Queen & David Bowie - Under Pressure• Générique de fin : Pet Shop Boys – Hit Music ; ABBA – Thank You for the Music ; Ulver – Like Music ; Kraftwerk – Musique Non Stop ; Serge Gainsbourg – Ballade de Melody Nelson Retrouver le podcast : XSilence | Facebook | Twitter | iTunes | Podcloud

LOU REED GOES INSTRUMENTAL! The third week of “All Instrumental April” we invite Mhyk Monroe (Grief Ritual, FATHERS) to join us in discussing what may just be a double album of Lou Reed's guitar feeding back. Is this music? If it is, is it metal? If it's not, is it a machine? How much time and effort would you put into trolling your record company? Is noise a genre of music, or the opposite of music? Or is silence the opposite of music? How influential can an album be if no one is able to listen to it? What percentage of people who claim to love this album have actually listened to it all the way through? Is this good to listen to while doing yoga? Or welding? Or driving unwanted patrons out of your bar at closing time? Just how sincere is Lou here? We actually wade all the way through all four sides of the same coin on this week's episode of Detours and Outliers.

LOU REED GOES INSTRUMENTAL! The third week of “All Instrumental April” we invite Mhyk Monroe (Grief Ritual, FATHERS) to join us in discussing what may just be a double album of Lou Reed’s guitar feeding back. Is this music? If it is, is it metal? If it’s not, is it a machine? How much time and effort would you put into trolling your record company? Is noise a genre of music, or the opposite of music? Or is silence the opposite of music? How influential can an album be if no one is able to listen to it? What percentage of people who claim to love this album have actually listened to it all the way through? Is this good to listen to while doing yoga? Or welding? Or driving unwanted patrons out of your bar at closing time? Just how sincere is Lou here? We actually wade all the way through all four sides of the same coin on this week’s episode of Detours and Outliers.

Both of us cannot believe we are still doing this. Even more so, we cannot believe people like this. So, as our gratitude to you all, enjoy this April Fool's edition of It Can't Be That Bad. In this episode, you will listen to the record with us. That record is Lou Reed's Metal Machine Music. Topics of discussion include preferred choice of ejaculate cleaner as a teenager, looking for a man at the Failure gig, Pitchfork's retrospective review, averaging a home-run a season, crying to Soundgarden in 6th grade, using humor to cope, and a crazy Lynchian night. We love you all.

Death To The Fascist Insect That Kills The LIfe Of The People

Tone Deaf Forever

Hey Team-Get’cha cornbread ready, Marty and Kris are back with a Thanksgiving-themed minisode! We kick it off by taking an opportunity to frame the episode for those out there that might not be familiar with the lunchtime format (2:45) then get straight into it-Kris introduces the minisode theme (6:43) Shout out to our listener(s) in Bosnia (10:14), and a brief breakdown of what a “Turkey” really is within the context of the episode (11:52). Next, we finally put the Spin Doctors conversation to rest with a scathing review of their second album, “Turn upside down” (12:05), which transitions into Marty and Kris reminiscing on simpler times when moshing and crowdsurfing was the norm at any show you went to, regardless of genre (14:57) and Marty shouts out Bogarts in Cincinnati, Ohio, a rock club Marty used to frequent (15:18), Ordering subs over talk about Nas and Mobb Deep (17:39), Kris continues the conversation with depleted great artists (25:17), Lou Reed’s misunderstood masterpiece “Metal Machine Music” (30:08) and the trend of artists making bad albums nearly on purpose to get out of their record contract, using Van Morrison’s album “The Bang Sessions” (32:15). Moving on, we revisit the depleted artist theory by breaking down the Chris Cornell/Timbaland collaboration (40:35), Neil Young’s unintentional Vaporwave swan song, “Trans” (42:38), The “worst album you’ve heard 100 times”, U2’s “Pop” (45:24), Rush’s 4 album “dork age” into heavy synths, (46:49) A conversation Marty used to have with an old roommate and how it pertains to The Roots masterpiece “Things Fall Apart” (50:52) and Kris’s take on a band’s sound becoming fully realized, where and how that happens (52:39). After the lunctime episode is complete, Marty and Kris come back with a recap (1:03:05) and Marty clears up some confusion regarding Nas’ first two albums, “Illmatic” and “It was written”. (1:03:44). Get your fill on stuffing early and press play for the Turkey(s)!

We are one week out from Ralph's wedding! This week we review Return Of The Living Dead and a bullshit noise soundtrack from Lou Reed. We welcome our friend Justin back to the show. Other subjects include - Orson Welles latest film, kids being shitty on Halloween and goosey night, last meals in prison, and more!

In the final episode of the first series of Dead Rock Stars, we present a contractual obligation fulfilling Greatest Hits. Just thank Dio we didn't opt for a live album. Or our very own Metal Machine Music. Talking of which, you'll find a heated discussion about that very album, plus chat about Bon Scott's nickname of Road-test Ronnie, Rick Parfitt's big night in, Elvis and the Memphis Mafia, Lemmy's love of poetry and fax machines and the harrowing account of the Lynyrd Skynyrd plane crash (where some of the band exploded off the scene). Plus eye opening insights on David Bowie, Janis Joplin, Jimi Hendrix, Prince, Phil Lynott, Freddie Mercury, Metallica, Ronnie James Dio and Marc Bolan. See acast.com/privacy for privacy and opt-out information.

Douglas Noble, who came on Alpha Pod Flight to talk about Sasquatch fighting the Super Skrull on episode... 9?... invited me onto his podcast 'The Gravity Equation' to talk about Machine Man 17, which guest stars Sasquatch, Aurora and Northstar. He's agreed to let me share the audio here. The Gravity Equation, Copyright Douglas Noble 2018 Alpha Pod Flight, Copyright 2018 Gareth A Hopkins Machine Man, Alpha Flight and all related characters are copyright Marvel or Disney. Deffo not me, pal. The version of 'Oh Canada!' used in this podcast can be found at this address: https://t.co/M2vMkA7f5c I think he also put some of Lou Reed's Metal Machine Music on the end? Disclaimer: The host of this podcast (Gareth A Hopkins) is a *fan of* the material he talks about and not an *expert on* it. Many of things stated as facts might be pure fabricated bullshit, and will probably reveal said host to be a bit of a bellend. Don't mind him. If you have any comments please email gareth@grthink.com

Two layers of feedback guitar improvisation turned out somewhere in between Lou Reed's "Metal Machine Music" and Brian Eno's "Music for Airports". (The title is of course a quote from T.S. Eliot)

Musician Nick Long (Church Mouse) swings by the podcast to talk about A Great Big Pile of Leaves, living on a 22-foot boat, dodging weird tragedies, being kept on a leash, daikaiju movies, Micro Ninja Heart Surgeons, Victor Wooten, learning music like a language, weird time signatures, the sound of Church Mouse, chilling out to Metal Machine Music, effects pedals, clashing politically with an old boss, optimistic nihilism, the inevitable heat death of the universe, meme culture and telepathy, and the most peaceful time in human history. Find him online at: https://churchmouseca.bandcamp.com/ or https://www.facebook.com/churchmouseca/ or follow Church Mouse on Instagram: @churchmouseca

downloadon iTunesThank you for time- and space-travelling back to New Orleans of April 2015 to listen to this podcast live & in person, where Billy Ray Stupendous & I caught up w/ Phil B and Lauren M of el jay fame, & Paul G of two-sport fame (football/trombone), to marvel @ th chart success of Laurie Anderson, th cross-cultural transcendence of Anne Murray, and th unlikely history of Branson, MOWe tried something new and inserted songs right in th middle of th 'cast -- enjoy, use yr whole heart, control yr gun, spread wings, get loved, be good to yr ears  Table of contents:00:00:00  "Spasticus Autisticus" performed by Ian Dury00:05:05  Texas, Missouri, & Toronto | favourite Canadian band | bad bands from America | John Tesh 00:13:24  New show format | earliest musical memories00:22:04   "Fly Robin Fly" performed by Silver Convention00:25:51  Hairless down there area | when disco was a thing 00:27:16  What is music, anyhow ? | chopping time up | Time, mortality, & harmony | tribes again00:31:16  Th insignificance of lyrics | What about hip-hop ? | rapgenius00:41:07  Scientific fact:  singing along feels good00:44:00  The Dusty Triangle 00:45:52  "You're Dead" performed by Norma Tanega00:48:12  "Walking My Cat Named Dog" | how to discover music | what we know bout Kate Bush00:55:24   "Running Up That Hill" performed by Kate Bush01:00:16  MTV | Maxwell | Velvet Underground type of deal | "Why Should I Love U?" | "... all the friends I was girls with ..." | Sandman & The Dreaming01:07:58  Gloomy Spectrum Disorder, Goonies Spectrum Disorder | baby on th podcast  01:12:44  Ginger Baker and ⚡ time ⚡  |  "Th sun is God" -- JMW Turner 01:15:42  Censorship for babbies | Nevermind | rock stars who namedrop bands01:21:24  File-collecting vs social life | Austin Psych Fest01:26:00  Music is Children's Music | gift from an adult | parental record collections 01:32:49  Country | Staunton VA | Branson MO | Bald Knobbers01:39:49  "Old Aunt Dinah" performed by Butter Boy01:41:11  Metal Machine Music | "O Superman" 01:44:33  Th race card01:46:33  Culture as taking |  Kurt Cobain's problems | growing up in bumfuck | 120 Minutes01:52:49  Trombone & American football01:58:52  Nerds & th experience of music02:03:07  Why do you think so many people are total assholes ...? | Grouper & Bob Dylan | free Belle & Sebastian image consultation02:13:55  Hip-hop, St Louis, Ferguson, and involuntary political awareness 02:25:11  Bonus Track: "Ok Denn" performed by Pill

Joe talks to Brooklyn drummer Kid Millions about prep. school, Oneida, Metal Machine Music, tuning drums with Brian Chase, and his solo percussion project, Man Forever.

Episode 13 - The Not So Suite Life of Zach and CodyHosted by Rob Pigott, Eric Bayer, & Kelly Burke, this is a podcast about the things we and our guests love, whether it be art, film, video games and more!On this episode, Rob and Eric are joined by Ethan Avila, A.K.A. Tikal Shine, and Frank Howley, as we talk how both guests got started as artists, their biggest influences, their personal favorite songs/videos/films they've made, favorite podcasts, Retsuprae, Spring Breakers, The Purge, bizarre YouTube videos, Only God Forgives, The Stanley Parable, Gone Home, Spec Ops: The Line, GameJew, and more!Be sure to subscribe to the Cell Shock Podcast on iTunes as well for future episodes!Cell Shock Podcast Facebook Page Theme Song and “New Years” is by Ethan Avila AKA Tikal ShineEthan’s Bandcamp Eric’s Twitter Frank’s Twitter Frank’s YouTube channel Rob’s Twitter Rob’s YouTube channel Mega64 Daft Punk MGMT Gorillaz QueenStanley KubrickSion Sono Woody Allen 2001: A Space Odyssey A Clockwork Orange Lost Dog The Otaku Social Media Gangsters Who's Afraid of Sailor Moon? (SUBS VS. DUBS) “Real Life” NPRThis American Life Wait Wait...Don’t Tell Me! Ira Glass Rooster Teeth Podcast Gaming Cult Podcast Retsuprae Retsutalk I was a guest on (11:30 in) Retsutalk where Diabetus and Slowbeef talk about meeting Frank and Derrick (02:50 in)Slowbeef’s channel Diabetus’ channel DP/30 5SFThe Midnight Show Frank’s Midnight Show “Spring Breakers” Parody Video Spring Breakers 127 Hours This Is the End Freaks and Geeks Drive Nicolas Winding Refn Only God Forgives Why Don’t You Play in Hell? The Last Stand The Purge The Canyons Ethan Hawke Before Midnight Getaway Daniel Day-Lewis Nine Yeezus Metal Machine Music (NOT Metal Sound) In Utero Bound 3 nig nog tryin to get a handbeezy? Sandy Hook Elementary Tribute song "Heaven" by "BABY KAELY" directed and produced by WILL.I.AMSpongebob Style Harlem Reacts to 'Harlem Shake' Videos 'Harlem Shake in the Plane' Video: FAA Investigates College Students Getting Passenger Out of Seats Punch-Drunk Love Reign Over Me Funny People Labor Day Jason Reitman Young Adult Dylan and Cole Sprouse Phillip Seymour Hoffman Paul Thomas Anderson A Late Quartet The Hunger Games: Catching Fire Michael Arndt Star Wars Kid All Your Base are Belong to Us Tay Zonday Psy Shahrukh Khan Slumdog Millionaire The Stanley Parable Spec Ops: The Line Final Fantasy VI Chrono Trigger Gone Home Super Mario 3D World Bioshock Infinite GameJew in Africa GameJew Sings to Miyamoto Frances Ha Gesaffelstein Cold Fish Confessions 47 Ronin The Wolf of Wall Street Bad Grandpa The Cell Shock Podcast, a podcast hosted by me, Rob, aka Jedifan421, all about movies, music, gaming, and pop culture, new and old, as I host a round table discussion with new guests every week from fan communities around the world.

Lawrence from Edmonton, AB, asks what's the deal with Lou Reed's 1976 album Metal Machine Music? "I've heard people have gone crazy listening to the album while on drugs." The post What's the deal with Lou Reed's Metal Machine Music? appeared first on The Geeks and Beats Podcast with Alan Cross and Michael Hainsworth.

The hardest working people in podcasting are back at it. And we waste little time in getting right at it. What "it" eventually is, we do not know. But we know this much: "It" is not entertaining. Bob sends in a picture of him in his shorty robe and it's very short. "Bob's getting it done" we agree. Except for maybe the white socks. He's our third listener to send in a picture of where he listens to the TVTM, complete with a blown up version of the TVTM logo. Bob also honors -- wait, "honors" -- Yours Truly with a smattering of "Timmay!" impressions from South Park. We've lost track of the TVTM Dreamer, because we thought it was Emily. It's not. How could we lose track of this information? Easy: Manny! (Benny Evangelista) probably lost it. You know, he's getting a leeeetle too big for his own good. The rising tide of "Save Benny's Corner" appears to be waning, thankfully, and this week we were even too busy to visit the "What's Benny Been Up To?" segment, though we're pretty sure the answer was "working, pretty much." In fact, this Thursday podcast is so chock full of stuff, and we already had Amber from Canada on the Tuesday cast, that we fell away from talking about what we've been listening to (a lot of Lloyd Cole still -- the man is a genius, by the way) and what we've been reading (the newly redesigned San Francisco Chronicle, of course). We're sure this temporary deviation from form made one person happy. Hi Wickedmachine! Speaking of dreamers, we get another one! It's Elizabeth. She even provides a sketch. We also get Walton saying, "Where's the faith in our man parts?" We also have a potential band name: Luscious Mullets. Seriously, it will make sense. If not, then surely my faux make-out session with QB (Chronicle media and political writer Joe Garofoli) will make complete sense. Or when we sing "White Riot" by the Clash. Maybe nothing in this podcast makes sense. I mean, Walton sings "The Map Song" for Dora and then Dora kills Walton. We blame Noah from the 703 for all of that. Hanna from Sweden (with her Irish accent, which we love so much) sends in an MP3 and runs down all "The Wire" actors getting work on TV. She gives us a chart about our TV Talk Machine Facebook page, tracking our friends. Her conclusion: "We need more girls." And then we talk about the awesome mugs she sent (visible on the Facebook page) that are just fantastic. We love gifts! Thanks to Ian who made us laugh by being "from The Kong" and then setting us up for "No Sleep Till Brooklyn." Ian's knowledge of the TVTM is stunning, for he also name-checks Marcus Chan, aka Moreworkus Chan, who oversees the Chronicle's multimedia efforts and is the man responsible for making Benny work so hard. His only misstep was asking why Benny doesn't do more voices. Look, we need Benny to focus. And stop doing research! Katie from the 518 proves immediately that she can take both Manny AND QB's job, which we offer her on the spot. Katie admits that she's been using "Brutal!" in her home life, much to the mystification of her husband. Katie -- welcome to our world. The spouses never seem to think Walton and Gore et al are that funny. And by the way, are you interested in "Katie's Corner"? Benny loses another call and is called out about it! He's losing things, people. We really need to dump him. Lastly -- but not really lastly -- Megan from the 707 makes a theme song for Taldar. It's very "Metal Machine Music" from Lou Reed. But it didn't clear out the podcave. Nope, it made QB laugh. And you know how much he loves to do his Taldar voice. So he gets into that a lot. Then Al Gore.