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This album is tied with Berlin and White Light/White Heat for my favorite Reed work.
I honestly don't see how anyone could be into Sonic Youth and not appreciate it, given how influential it was on the noise part of their guitar sound.
Lou chose to play the post-modern hand perfectly by creating a powerful serious art statement that he knew most of the critics and listening world would take as shit, so he claimed he was fucking around and making shit. Now I'm sure he chuckles everytime somebody claims it was all a joke, because it really wasn't. Talk about the last laugh.
There's a copy of the vinyl double LP in the library at KAOS FM in Olympia that I used to love to play when I djed there, because there appeared to be a literal bite taken out of one of the records. So I'd just start it an inch further in.
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