A few months ago I committed myself to a dive into Lou Reed's solo album back catalogue, a journey to be undertaken with a bit of caution I've always felt- there is some variability in the quality in his solo career. This was inspired by a post at The Vinyl Villain at the tail end of 2024. He posted the songs from a 1981 Lou Reed Best of called Walk On The Wild Side and I listened to some songs with fresh ears- Wild Child and I Love You from his 1972 solo debut, How Do You Think It Feels from Berlin, Sally Can't Dance and Coney Island Baby, both the title tracks from 1970s albums that I hadn't heard for decades. I decided that where possible I should revisit Lou's solo career in the format it should be heard as far as possible- vinyl (or cassette but I have no functioning cassette player and am not about to buy one). Since then I've done Berlin back in February (Lou's masterpiece more or less I said) and his solo debut, Lou Reed (a mixed bag, good/ great songs, marred by some strange production and mixing choices).
I was going to skip Transformer. It felt too obvious. Everyone knows and loves Transformer. If you only have one Lou Reed solo album, it's Transformer. It had a massive 90s resurgence too due to Trainspotting and the BBC. I was going to move onto Sally Can't Dance and/ or Coney Island Baby but to date haven't tracked down second hand vinyl copies at acceptable prices and there's surely a limit to the number of solo Lou Reed albums one person should buy on second hand vinyl in a fairly short period of time. I had both on cassette in the late 80s but those are long gone. I do however own Transformer on vinyl, 1972 vinyl too, bought in the late 80s/ early 90s. Transformer it is then...
Transformer came out in November 1972, just six months after his overcooked solo debut. That album was stacked with songs that dated from Velvets days. Transformer has four songs are from the VU period although the band played them only in demo or live form. The big difference in sound fromt he debut to Transformer is what David Bowie and Mick Ronson bring. Lou's debut had been a commercial disappointment. Bowie, very much a rising superstar in 1972, was a big fan and used his fame and clout to help Lou out. Ronson's playing (guitar, piano, backing vox) and co- production are key to the album's sound. It's glam- ish rock crossed with Lou's New York scuzz and street smarts but beautifully produced- it sounds alive, it's not overloaded or weighed down by too many guitars, there is space and distance between the instruments, it has a great feel. The sleeve art is equally important, a Mick Rock shot, cropped and overexposed with some early 70s street cool on the back- the man's tightly stuffed jeans apparently the result of a banana being stuffed down them for the shoot. Peel slowly and see.
The songs are among Lou's solo best too. Walk On the Wild Side complete with the famous Herbie Flowers bassline is his best known but its matched by others. Vicious is a stunning opening song, the lyric suggested to him by Andy Warhol, Lou being told to write a song about being vicious. 'What kind of vicious?' said Lou. 'Oh, you know, vicious like I hit you with a flower', replied Andy. Meanwhile Ronson's guitar fires off squalls of electricity over Lou's perfect three chord VU trick.
The album rattles by, never outstaying its welcome, songs passing by like NY subway trains. Andy's Chest and Hangin' Round come either side of Perfect Day- a song that enjoyed a huge second life in Trainspotting and then as an all star BBC advert. Separated from all of that now Perfect Day sounds like what it is- classic Lou Reed, minor chords, soft piano, Lou's downbeat, sombre vocal about spending the day in Central Park, drinking sangria and then home. Walk On The Wild Side takes us to the end of side one in under twenty minutes.
Flip Transformer over and there's the whimsy of Make Up, a celebration of androgyny, cross dressing, gender identity and then Satellite Of Love...
Satellite Of Love has piano, drums, strings, and Lou in romantic mode, serenaded by the backing vocals, wondrous melodies and a sense of awe, Lou/ the narrator watching the launch of a satellite on TV coupled with a change of tone as his feelings of jealousy about his partner being bold with Harry, Mark and John kick in. Bowie's touch is all over it- a magical, cosmic song.
Wagon Wheel and I'm Set Free add to the fun, Lou sounding unleashed and happy. New York Telephone Conversation is a bit of humour, a slightly bitchy, tongue in cheek novelty. Goodnight Ladies romps us to the end, some oom pa pa to bring the curtain down. Lou would go much further with Berlin, a Weimar descent into squalor and domestic abuse, drugs and violence. On Transformer everything sounds up and more carefree, even the more sombre moments, Bowie and Ronson bringing some light to Lou's shade. It really is one of those albums everyone should own.
5 comments:
SOmetimes a song is just perfect for a particular moment, and Satellite of Love is that song right now.
Love it when that happens George
When MrsRobster and I started going out, I did a mixtape for her (because that's what young lovers do, right?) and included Satellite Of Love on it. I still think of those days when I hear it. I really should have included it in my 50 Songs To Take To My Grave, and if I were ever to revisit that project (I won't...), it would make the cut.
The 1972 vinyl also resides in Villain Towers, but in this instance, was bought by a then 14-year old Rachel back in the day!
Mine was bought second hand many years later JC
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