Lou Reed – Transformer (1972/2015) FLAC (tracks) 24 bit/96 kHz Time – 37:06 minutes 774 MB Genre: Rock Studio Master, Official Digital Download Source: HDTracks Artwork: Front cover © RCA Records Recorded: August 1972 at Trident Studios, London Released in 1972, Transformer is Lou Reed’s second studio album. It was produced by David Bowie and Mick Ronson and was ranked number 194 on Rolling Stone magazine’s list of the 500 greatest albums of all time. 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.
Lou Reed
Lou Reed The RCA & Arista Album Collection (15 albums, 17 CDs) (Sony) “Oh man!!!! What the f.!!!!!” Thus, apparently, spake Lou Reed as he listened to the first playback of the newly remastered “Coney Island Baby” – title track to his seventh solo album in 1976, and thus the seventh disc of the seventeen that weigh down this astonishing box set. Elsewhere, as he got into Street Hassle, he let slip a “holy f.ing shit.” And doubtless there were plenty more imprecations of a similar ilk as the listening party continued. Sadly, despite the promotional material assuring us that the eighty-page hardback that accompanies this set would include “evocative in-depth liner notes chronicling Lou’s involvement with the making of the box,” those two remarks are effectively all we get in terms of first-hand responses. “What the f.!!!!!” and “holy f.king shit.” It’s really not much to go on.
Seventeen discs – two for Metal Machine Music and the live Take No Prisoners; one apiece for the remainder of the albums that stretched from Lou Reed (1971) to Mistrial (1986). That’s a lot of music, and there could have been more. Completists will point out that a further two are AWOL – Lou Reed Live, the parson’s nose of live recordings that (near)-completed the show documented by Rock N Roll Animal, and Live in Italy, from 1983. No explanation is given, but as both were effectively the record label’s idea, and Lou had no real involvement in their release (at least in the US), we assume that that is why they were omitted.
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This was Lou’s story as he told it himself. If other people wanted to add other chapters, that was nothing to do with him. Absent, too, are the bonus tracks appended to several of these albums over the years, but the same theory holds true there as well.
There’s a great rarities box to be compiled from the life of Lou Reed, but not yet. And why should there be? The music is as peerless as Lou was capable of creating in each particular time and place, and the albums as rounded as he wanted them to be.
An out-take here, a demo there, would only disturb the purity that he intended. Lou Reed, it was said (and the point is repeated in the liners) was New York, writing about the city with “a mix of journalistic observation and deeply felt emotion that resonates decades later.” That is true.
Lou Reed Transformer Zip
But he was also, alongside Frank Zappa, the most lyrically and musically literate mainstream performer to emerge from the American left field throughout the rock age. And, like Zappa, he could be infuriatingly selfish, following his own straight-line vision no matter what his audience expected of him.
Indeed, he admitted as much back in 1973. The kids, he told a UK journalist, wanted a new Transformer.
One of the most popular and adventurous records by Lou Reed the oft-titled “Godfather of Punk,” is now available on MP3 format from Amazon this month for only $5. (The is currently $5.99 and is an AutoRip, which means with the CD purchase you’ll also get a FREE MP3 download of the entire album.) Released in November 1972, Transformer surprised everyone by actually bringing Lou Reed into the mainstream of sorts.
Lou Reed Transformer Cover
The album hit the Top 40 and almost made the sounds and styles on this record, homosexuality, androgyny, fucked up relationships, decadence and early gothy art, household words. Produced by David Bowie and the late, great Mick Ronson, who sizzles on guitar on Transformer, Reed takes his best playbook from his Velvet Underground days and spills a wild musical ride all over his canvas here.
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