Classic albums revisited 3: Lou Reed - Transformer

As the stream of thoughts, memories and recollections go, I was reminded by the offering from The Killers – ‘Tranquilize’, that I had purchased a re-mastered version of Lou Reed’s – ‘Transformer’ last year and not really paid it much attention. I am so familiar with the original album, I don’t think I felt any urgency in checking this CD out properly. I have listened to it a couple of times now, so let’s revisit it as one of the all-time classic albums out there. The question being – does it still stand up today?

 

About the album

 

Lou Reed had already achieved cult status with his work with the Velvet Underground by the time he went solo. His first solo outing was received with mixed reviews, and seemed to carry over a lot of songs from the Velvets days. I loved it, but what can I say, I belong to the school of thought that ‘Reed can do no wrong’. Sad I know, but at least I’m consistent. But, back to ‘Transformer’, and enter some side-kicks for the album, no less than David Bowie and Mick Ronson (a Spider from Mars). A lot is said about whose album ‘Transformer’ really is, for example the argument goes that Reed would never have been able to have done it by himself. The question is asked: why did Ronson not get more writing and playing credits, and further: how involved was Bowie really? My view is that this was a collaboration. It brought out the best in all the artists involved, and this is what made it a classic in the first place.

 

Ronson alone was a master. Originally from Hull in the UK, he made a couple of attempts at breaking into the music scene in London before returning to Hull and taking on some type of job maintaining local parks. Apparently he was out applying whitewashing to a football pitch when he got the call from Bowie to try out for the Spiders (there’s probably more to the story than this as they did not have mobile phones in those days). The rest is Rock and Roll history.

 

One common thread that appears when reading about Ronson (who has sadly recently succumbed to cancer) is his humility. Apart from the ‘Transformer’ album, and his work with Bowie, Ronson has made numerous other contributions, as well as a few solo albums and also some work with Ian Hunter (I have a vinyl copy of ‘Slaughter on 10^th Avenue’ that stands the test of time very well). On ‘Transformer’ he went about writing, arranging and playing several instruments on most of the songs.

 

Throughout rock history there are characters like Ronson who have transformed the sound of rock in an era, almost while nobody was looking, i.e. operating underneath the radar. Today we have the likes of Johnny Marr. Famous for his work in The Smiths of course, but then also responsible for a lot of non-credited work on some the The The albums, and, did you know, he also played on Talking Heads’ ‘Naked’ (my favourite Talking Heads album without a doubt). Another is Bernard Butler who has the ability to do the same as Ronson. This is probably the subject matter for an entire other posting, as I am digressing from the album review, but if you have other examples of this phenomenon please leave a comment and I will try to compile a more comprehensive posting at a later date.

 

So, looking at what the album has to offer, we start off with –

 

Vicious

What a cool song! Witty and swaggering it has the ability to put a smile on my face every time. Come to think of it, there are a few tracks on this album that do that.

 

Andy’s Chest

 

The Andy being none other than Andy Warhol – a key character in Reed’s past Velvet Underground history. The lyrics are great ‘… a hairy minded pink bare bear…’.

 

Perfect Day

 

Recently revived to help raise money for a charity cause, as well as appearing on the ‘Trainspotting’ soundtrack, this song grows from strength to strength. Dwelling on the simple pleasures in life that are made only more pleasurable by sharing them with a special person in you life, this is a joyful life affirming song that gets stronger with every listen. Ronson on piano apparently, and the symphonic swells dare anybody not to sing along to the majestic chorus.

 

Hangin’ ‘Round

 

‘You keep hangin’ ‘round me and I’m not so glad you found me ….’ go the lyrics. Reed a master of the message, gets it across with ease every time. This song also lays a blueprint on how to be cool.

 

Walk on the wild side

 

I suppose most people have heard this song. Without a doubt, this is Reed’s most popular song ever. At four minutes 15 seconds long, my view has always been - why so short? When in fact, this is longer than most of the other songs on the album. I can never get enough of it. Reed apparently could. Listen to the Reed live album ‘Take No Prisoners’. The audience constantly heckle him for not playing it, and when he does, it is pure vitriol.

 

Make Up

 

In the days before Emos and Goths, Reed and Bowie were at the forefront of ‘Glam Rock’ which introduced the world to Rock ‘n Roll androgyny and males wearing make up.  This song however is more a ‘fly on the wall account’ of someone transforming themselves with make up. Still fresh and highly listenable as a song.

 

Satellite of Love

 

Wacky weird lyrics take us ‘way up to Mars’. A great song with Bowie clearly having a lot of fun on the backing vocals. A lot can be said for music that sounds like fun was had in the making.

 

Wagon wheel

 

Another set of weird and whacky lyrics, but with another motivational theme laced with something nasty. Partly containing some good advice and then some advice that should probably be ignored. The music is nice and rocked up thanks to some great riffing from Ronson.

 

New York Telephone Conversation

 

‘I was sleeping gently napping when I heard the phone, who is on the other end talking, am I even home?’ this is a really short song, but biting and incisive in the multi dimensional way only Reed can be.

 

I’m So Free

 

Reed dead-pans his way through this song, with the famous backing vocalists offsetting this with joyful abandon. It works really well and seems to have influenced a lot of other artists over the years. I'm developing a theory that Reed is sometimes sarcastic!

 

Goodnight Ladies

 

A cabaret style song that probably astounded the audience. Considering that the entire album is rather astounding when compared to Velvet Underground material (although it was always pretty weird too) and then the first solo album, this track is then not so astounding. Reed’s offerings to the women in his life have always seemed to me to be quite bipolar. One moment the misogynist, the next the adorer of everything that is feminine, his songs swing from one side to the other like a pendulum. This one however, seems to me to place the pendulum firmly in the middle. The main point seems to be that behind the scenes (off the stage) life goes on at a pretty mundane pace.

 

So what is the verdict about the ‘Transformer’ album 36 years later? I recently read a review by music critic Emily Mackay (on NME.com) where she discusses the point of rock music. One that she mentions is that ‘great rock affirms life’. This album does that for me. In my view the album as presented above is still engaging and refreshing. It remains a collaborative effort that brings out the best in all involved. The sound is that of off-beat, weird but funky rock music. Loose and unhurried, the album sounds fun to me.

 

Do I recommend buying the CD? The songs sound great, and at the end there are interesting demo (acoustic) versions of ‘Perfect day’ and ‘Hangin’ ‘round’. These turn out to be very interesting in terms of offering a view on what the album could have been like had Bowie and Ronson not arrived. Better? No, but not worse either! Lou Reed can do no wrong – but I think that I said that already.