David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground's music had a major impact on Bowie's work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. Musically, Reed's work didn't have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to "Vicious" and "Hangin' Round" that's a lot flashier than what Reed cranked out with the Velvets, but still honors Lou's strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for "Perfect Day," "Walk on the Wild Side," and "Goodnight Ladies" blend pop polish with musical thinking just as distinctive as Reed's lyrical conceits. And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted ("Make Up" and "I'm So Free" being the most obvious examples), "Perfect Day," "Walk on the Wild Side," and "New York Telephone Conversation" proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed's career in the 1970s, and while it led him into a style that proved to be a dead end, you can't deny that Bowie and Ronson gave their hero a new lease on life -- and a solid album in the bargain. ~ Mark Deming, All Music Guide
Transformer is Lou Reed's breakthrough second solo album, released in December 1972.[1] Unlike its predecessor Lou Reed, eight songs of which were leftovers from his Velvet Underground days, this album contains mainly new material. However, there are still a few songs that date from his VU days—Velvet Underground-recorded versions of "Andy's Chest" and "Satellite of Love" surfaced in 1985 and 1995, respectively; and "New York Telephone Conversation" and "I'm So Free" are known to have been played during the Velvets' run at Max's Kansas City in the summer of 1970.
Transformer was produced by David Bowie and Mick Ronson, both of whom had been strongly influenced by Reed's work with the Velvet Underground -- Bowie had obliquely referenced the Velvet Underground in the cover notes for his Hunky Dory album, and he performed a cover version of "White Light/White Heat" at the final Ziggy Stardust concert in 1973, at which Reed also made a guest appearance.
Mick Ronson, who was at the time the lead guitarist with Bowie's backing band, played a major role in the recording of the album, serving as the co-producer and primary session musician (contributing guitar, piano, recorder and backing vocals) and arranger, notably the lush string arrangement for "Perfect Day". Reed lauded Ronson's contribution in the Transformer episode of the documentary series Classic Albums, praising the beauty of his work and fading out the vocal to highlight the strings. The songs on the LP are now among Reed's best-known works, including "Walk on the Wild Side", "Perfect Day" and "Satellite of Love", and the album's commercial success elevated him from cult status to become an international star in his own right.
"Andy's Chest" had been recorded in 1969 for The Velvet Underground's "lost fourth album" (see VU and Another View) and "Satellite of Love" had been demoed for the band's 1970 album Loaded, but neither had been used. For Transformer, the poppy up-tempo feel of these songs was slowed down to turn them into ballads. Although all songs on the album were credited to Reed, it has long been rumoured that "Wagon Wheel" is actually a David Bowie composition.[2] Although there are no known performances of "Vicious" by the Velvet Underground, the song apparently dates from Reed's time in the band and its association with Andy Warhol. According to Reed, Warhol told Reed he should write a song about someone vicious. Reed inquired what he meant by that, and Warhol replied, "Oh, you know, vicious like I hit you with a flower."[3]
The first single from the album, "Walk on the Wild Side", became an international success, despite its adult subject matter (it was edited in some countries and banned in others) and it is now generally regarded as Reed's signature tune. "Satellite of Love" was issued as the second single in February 1973. In 2002, a 30th anniversary edition of the album was released; in addition to demos of "Hangin' Round" and "Perfect Day", it includes a hidden track featuring an advert for the album.
