Lou Reed ‎– Metal Machine Music (The Amine β Ring)

RCA ‎– CPL2-1101, RCA Victor ‎– CPL2-1101
2 × Vinyl, LP, Album, Gatefold


A Metal Machine Music A-1 16:01
B Metal Machine Music A-2 16:01
C Metal Machine Music A-3 16:01
D Metal Machine Music A-4 16:01

Companies, etc.



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

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

Made in U.S.A.
℗ 1975 RCA Records

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

Special thanks to Bob Ludwig

Barcode and Other Identifiers

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

Other Versions (5 of 25) View All

Cat# Artist Title (Format) Label Cat# Country Year
PIP DL 023 Lou Reed Metal Machine Music (The Amine β Ring)(2xLP, Album, RE) Great Expectations PIP DL 023 UK 1991 Sell This Version
CPS2-1101 Lou Reed Metal Machine Music (The Amine β Ring)(8-Trk, Album) RCA CPS2-1101 Canada 1975 Sell This Version
CPK2-1101 Lou Reed Metal Machine Music(Cass, Album) RCA CPK2-1101 US 1975 Sell This Version
74465 99752 2 Lou Reed Metal Machine Music(CD, Album, RE, RM) Buddha Records, RCA, BMG 74465 99752 2 Europe 2000 Sell This Version
CPL2-1101 Lou Reed Metal Machine Music(2xLP, Album, Gat) RCA CPL2-1101 Germany 1975 Sell This Version


Reviews Show All 18 Reviews

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July 4, 2016
Amazing... If this LP were scratched beyond belief it wouldn't sound any different...


May 23, 2016
The musical equivalent of the middle finger, this album should be looked at not as a collection of four music tracks, but as conceptual art piece of a legendary attempt at career suicide, and a giant "F**k you" to RCA.
Trying to find any sort of meaning in this album is fruitless, and you'd be missing the joke.



May 18, 2016
edited 10 months ago
My second best Lou Reed soloalbum ! No Pop-Rock entertainement , just art. And off course the most sublime career moves of all time. To issue this after the million seller of Sally can´t Dance shows true independence, size and how he hates his own audience and success Great !


March 18, 2016
A lot of you may not be aware that there have been a few new style tags that Discogs
had added to the electronic genre drop down menu. The one that I bring up here is
called "HNW" (harsh noise wall). Now I have been listening to various kinds of
"experimental noise" music's for quite some time, but HNW was and still is
something which i'm not at all familiar with. In fact I can not even cite a single artist
or group who is known to be associated with, or produce material that can
qualify as true HNR. I know i've heard some of it just by chance but so far
I have not been able to identify anything in particular. I'm not even sure
where i'm trying to go with all this jibber-jabber?... Oh yeah now I recall,
"Metal Machine Music" has got to be the original grandfather of all HNW
(music/ definitely not musical) You gotta hand it to Lou for always managing
to arrive in bold fashion to preemptively define himself a conceptual vanguard
years before the current standards of cool had fully taken shape. Everything
about "MMM" seems proto bad ass, and on a visual level it almost seems
to convey a promise that is aesthetically too well crafted. for the content
it falsely represents. The end result is that it totally succeeds on one
level, while failing quite dismally on another. It's a landmark piece of
artistic terrorism which was never intended to be listenable to any
real degree. Over the years I have tried listening to "MMM" on several
occasions to see it I could "get it" but I never make it more than a
couple minutes in before I pick up the needle again. it''s quite
literally one of the most annoyingly harsh records of all time.
Even harsh noise wall HNW is going to be holding a candle
to "MMM" when it comes time to crown the the harshest of the harsh.


May 5, 2015

If you don't like it, don't listen to it.
Great headphone album.
A beautiful, deep and profound record that works on many levels.
In an ideal world this would be played at my funeral - and attendees would be forced to listen to all four sides.... and an extra hour of the lock-groove.


January 29, 2015
Greatest Album of all time!


October 29, 2013
my copy has a big, red and black 'STEREO' sticker in the upper right corner. is this normal? do i have a different version?


February 13, 2011
edited over 2 years ago
While the idea behind the very title doesn't sound that bad, in practice this is the closest someone 'sang' worse than Yoko Ono.


November 21, 2010
Psshhh. What does it matter if it's music or not? This album is a genuine, sweet, raw Wall of Sound. When you find yourself tired of what is considered to be conventional music, this hits the spot. I love it. 'Nuff said.


November 4, 2010
Four sides of sculpted feedback that will make your teeth rattle and your neighbours hate you but, as they always say, 'the road of excess leads to the palace of wisdom' and christ knows this album has taught me allot - mainly the Lou could have been so much better.

In this album Lou builds upon the bare bones of a shorter work penned by Cale and released as a Velvets track called (if I remember correctly) 'Noise.' 'He just rehashed someone else's music!' No, he perfected it, reimagined it in light of the sort of Avant thinking that Cale always stopped just short off, stuck a feather in it's cap and a locked groove on the end and gave us a walloping, eye watteringly loud pre-curser to Noise.

All hail Lou - shame he got so scared by the negative reaction and disowned the album, he could have done some truly great things instead of the endless pop records.