Sunday, November 20, 2011
JEFFREY MORGANíS MEDIA BLACKOUT #290
Sun, November 20, 2011 | link
DOWN FOR YOU IS JEFFREY MORGAN’S
MEDIA BLACKOUT #290!
The Beatles – Hate
(Apple Corpse) :: You get what you pay for, so it’s not surprising that this free conceptual remix inversion of the
Love album falls flat in several spots. But when it does work, as evidenced by such radically remade tracks
as “Revolution 23” and “Horny Pie,” the effect is unsettlingly unsound.
The Beatles – Hell (Apple Corpse) :: Meanwhile, this sulfurous sequel is
almost worth the price of admission alone just to hear what an amusing phonetic difference digitally removing the “p”
from “Help!” makes. Bonus points for including such scabrous hit singles as “Hell Terskelta” and “Helleanor
Rigid” and “Hell O’ Goodbye” and...
SIZZLING PLATTER OF THE WEEK: Lou Reed & Metallica – Lulu (Warner Bros.) ::
In a world of woefully sterile and stagnant laptop manufactured music where nothing shocks or surprises anymore, Lulu
is the most creatively daring and challenging Lou Reed album since he had the mental wherewithal to create Metal Machine
Music—and make no mistake: despite the dual album credit and sporadic duet, this is a Lou Reed album from
bottom to bottom.
Metallica’s inclusion as Reed’s backing
band makes this the most brutal album of his career, much in the same way that the earlier presence of Dick Wagner and Steve
Hunter made Rock n Roll Animal heavier than the Weimar weeper Berlin. Here’s how Lou accurately assessed
both albums when I interviewed him in 1976 during a three hour liquid lunch at Trader Vic’s:
MORGAN: It’s [Rock n Roll Animal] a great guitar album.
REED: That’s what it is.
It’s a great rock album.
REED: For what it is, for
that kind of thing, if you go for that, it’s probably up there with the best. Like, that’s why I like the Lou
Reed Live album, because of the Hunter-Wagner duel on “Oh Jim.” I think that’s superb. But “Heroin,”
y’know, with that intro... But it’s great for heavy metal nonsense. It’s like
being in a time warp.
MORGAN: The first time I heard Berlin
was on a Saturday night at two in the morning—
REED: And you felt sad and guilty
and you want to put it off on me?
On a musical volume and lyrical content level,
Lulu makes both Rock n Roll Animal and Berlin sound like a quaint Folkways record by comparison.
It’s a harrowing album that opens with a brief allusion to Universal’s monochromatic movie monsters before quickly
transforming into an unreasonable—but never unreasoning—bludgeoning brute of a beast that’s been graphically
stitched together in the goriest color-saturated Hammer Films tradition.
Lulu is one of those rare albums that actually asks you to think; that asks you to work at understanding it. What,
at first listen, seems to be an utterly impenetrable quagmire only becomes clearer with each successive listening—and
even then you’ll find that you’ve barely set a foot past its threshold of severe loss and pain. But don’t
let that stop you from taking another step. Be brave.
Be seeing you!