Transformer is one of those albums that comes to define an artist - in this case, Lou Reed's solo career away from the Velvet Underground. His self titled effort 'Lou Reed' was released in April 1972 without a great critical reception, but Transformer, produced by David Bowie, took Reed to a new level in November of the same year. 'Perfect Day', 'Satellite of Love' and 'Walk on the Wild Side' are all iconic and that they are still recognised today demonstrates the longevity of this classic album. My own experience of Transformer began in 2003, when, while on holiday, my Dad picked up a copy of Transformer to play in the car on the drive home from York. I was gutted, because that meant I wasn't able to listen to The Darkness's Permission to Land. It is a disappointment, however, that I am glad I put up with, as Transformer is now a solid member of my top 5 albums.
From the opening track, 'Vicious', we can be clear that this is a classic. There is a rock groove and a clarity in the main riff which, for me, isn't present in Velvet Underground tracks. Reed brings a swagger to the album, his delivery echoing that of a man who has seen it all and knows it all - the ultimate street talker, raised on the greatest street of them all - New York. The influence of Bowie can be felt at every turn as well - I'm So Free and Hanging Round particularly wouldn't look out of place among Bowie's own discography. It is noted that the Reed/Bowie collaboration resurfaced in 2003 on Reed's bizarre album 'The Raven' on the track 'Hop Frog'.Although the less said about 'Hop Frog' the better...
In 'Andy's Chest', Reed takes a more delicate tone, telling us 'If I could be anything/in the world that flew/I would be a bat and come/ swooping after you'. This love tale provides a fitting contrast to Vicious and also forms a suitable predecessor to one of the greatest songs of all time.
'Perfect Day' tells of Reed's experiences of heroin. While this track has been taken by some to have a meaning greatly different to that which was initially intended - perhaps more as a motif for world peace than drug abuse- , it remains, in either context, a fantastic song. 'You just keep me hanging on' is a refrain which is applicable to a lover, a great concert, family, and, drugs. In one sense, this song demonstrates that drugs can form a metaphor for many other events in our lives. Perhaps when our lives are missing the elements which make days 'perfect', we may turn to other stimulants to achieve that feeling. 'Perfect Day' could apply equally to a day out to the park/movies/zoo with a loved one or to the true meaning - 'you're going to reap just what you sow' is a maxim that ought to be followed both in an opium harvest and in everyday life too. To say that a song perhaps is one of the greatest ever is not a claim I'd make lightly, but Perfect day is one of those where such a claim ought to be considered.
'Hangin' Round' tells a tale of a bunch of nutters. Whether it is 'Harry was a rich young man who would become a priest/ He dug up his dear father when he was recently deceased.' or 'Jeanie was a spoilt young brat.' Reed's description of Harry, Jeanie et al leaves us with a sense of who they are without knowing specifically what their importance is. It appears to me that 'You keep hanging round me...you're still doing things that I gave up years ago' suggests that this is a song about outgrowing friends - or, rather drifting apart due to different interests. The remastered version of Transformer includes the acoustic demo of Hangin' Round, which is equally as brilliant as the heavily Bowie influenced album version.
'Walk on the Wild Side' sees Reed's confident story telling and 'swagger' return. There is a certain gallus quality to his delivery which is hard to find anywhere else. This tale of folks who 'shaved his legs, then he was a she' represent the wild side of life, if by 'wild' we mean the glamourous world of drag queens! The bass hook on this laid back and relaxed track provides the perfect foundation for Reed's storytelling to take centre stage. Even the chorus singers' delicate 'doo doo doo' helps to relax the listener and transport them to the fantastic world where Reed takes us.
'Make Up' speaks of a 'slick little girl' against Reed's trademark laid back tone. 'When you're in bed, it's so wonderful' tells of Reed's love of his girl, speaking of the make up and lace she wears. Outwith the context of a Lou Reed album, this song would perhaps not be seen as one to take note of, but in the surroundings of Transformer, it provides a change in tone which sets the stage for Walk on the Wild Side and Satellite of Love to star.
'Satellite of Love' has one of the most uplifting refrains to close the track, with the choir working with Reed to create a sound which is closer to the feel of a disco hall rather than the type of sound which could be heard in Velvet Underground's 'Venus in Furs' - there is a great contrast. That Satellite of Love was re released as a club remix version earlier in the 2000s shows that the song captures a feel and emotion which remains relevant now as it was in 1972.
'Wagon Wheel' has a slightly more raw feel to it, with the guitar licks flowing and creating a scene for Reed to declare 'you gotta live your life as though you're number one'. This is perhaps one of the songs on Transformer which don't stand out as being especially incredible in their own right, but which facilitates the impression and feel of the album as a while.
'New York Telephone Conversation' is a quirky track, which parodies the conversations between Sex and the City - type persons, discussing rumour and romance - 'Did you hear who did what to whom?'. Reed shows his despair with such culture by caricaturing them with an almost ditsy piano backing which leads him to ask 'who really cares?'
'I'm So Free' has an opening riff which sends a jive and a spark down the nerves and is a song I would love to hear in a nightclub, however unlikely that is to happen. This track has an arrogant, but liberating undertone to it - the title suggesting a time of freedom and 'I do what I want and I want what I see - could only ever happen to me' suggests an ego-centric feeling where you feel like the world is your oyster. Whatever you want to do will be done, and only you can do it. This is, outwith the renowned tracks from transformer, perhaps my favourite of the lesser known songs.
'Goodnight Ladies' provides a suitable close to the album, with a casual farewell to the ladies - 'it's time to say goodbye'. This song tells of the end of a night out, or a relationship - speaking of said ladies drinking tequila and then Reed lamenting the end of the night, bemoaning his 'lonely Saturday night' due to him missing his other half. Perhaps it speaks of the end of a relationship - with the lonely nights representing his new life, and the song representing his longing for his other half - 'you said we could be friends, but that's not what I want.'
Albums as good as Transformer are rare. And it's not my intention to give out 10s every review on here. Indeed, I nearly considered a rule that no album could ever be a 10, as this would mean that it was utterly flawless. However, Transformer merits it. If you've come here as a fan of Lou Reed already, I doubt you will disagree. If you're unaware of his work, I implore you to listen to this. There's a very good reason that Lou Reed has performed Perfect Day with Pavarotti. It's because his output in this album is that good.
10/10
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