This here is a kind of loveable interview with the famously prickly Lou Reed who seems to be getting kinda sweet in his dotage, har har (as if someone as intrinsically brainy and with-it as Lou could ever have a "dotage"). Nevertheless, its interesting to hear his perspective -- what sounds like maybe its his honest perspective, too, minus any myth or bullshit -- on "Metal Machine Music," an album I admire the hell out of but, like probably the rest of you, have never made it all the way through.
Scratch that -- I should say most of you. I have one friend who adores MMM, and listens to it constantly. To him I say: power to the people, brother, I feel that way about a lot of supposedly "unlistenable" music (I play Steven Reich's "Music for 18 Musicians" weekly), but for some reason the cascades of feedback on MMM have never sat right with me. Maybe ten years from now -- music like that has a way of sneaking up on me. I'm still waiting for those last few John Zorn things to sit with me (the ones where Mike Patton goes GHRHGHRMFJERKHWERLKSDJLKJDF:KJELKJKLSDFJKJDHF really loud over some pretty awesome thrash-jazz-metal-crunge-funk-fuck).
Supposedly, if you listen close, you can here vaguaries and subtleties and light and dark and chiaroscuro and such in MMM -- to me its always just sounded like one loud SKRONK, but I'm willing to very much admit that I'm wrong. Perhaps this live performance that's just out is a way for me to rediscover it. Dunno. I'm willing to stand behind the bleak, Grand Guignol-ish-ness of "Berlin," or even the sweet pop of "Coney Island Baby" but in much the same way the noise disc on Neil Young's "Arc/Weld" failed to sit with me, to quote Juno, to me, "It's just noise, man."
That said: Sorry, Juno. I finally was in the right place to enjoy "Daydream Nation," 20 years after the rest of the universe acknowledged its awesomeness. Let's just say its the perfect example of me playing against type.