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Released: November 1972


Rating: 4.202 (average of 19 ratings)


Genre: rock > glam


Quotable: --


Album Tracks:

  1. Vicious [2:55]
  2. Andy’s Chest [3:17]
  3. Perfect Day [3:43]
  4. Hangin’ ‘Round [3:39]
  5. Walk on the Wild Side [4:12]
  6. Make Up [2:58]
  7. Satellite of Love [3:40]
  8. Wagon Wheel [3:19]
  9. New York Telephone Conversation [1:31]
  10. I’m So Free [3:07]
  11. Goodnight Ladies [4:19]

All songs written by Lou Reed.


Total Running Time: 36:40


Sales (in millions):

sales in U.S. only --
sales in U.K. only - estimated --
sales in all of Europe as determined by IFPI – click here to go to their site. --
sales worldwide - estimated --


Peak:

peak on U.S. Billboard album chart 29
peak on U.K. album chart 13


Singles/Hit Songs:

  • Walk on the Wild Side (11/72) #16 US, #10 UK
  • Vicious (4/73) --


Notes: Earilier versions of “Andy’s Chest” and “Satellite of Love” can be found on the Velvet Underground’s box set Peel Slowly and See.


Awards:

Rated one of the top 1000 albums of all time by Dave’s Music Database. Click to learn more. Mojo Magazine’s 100 Greatest Albums


Transformer
Lou Reed
Review:
“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.” MD


Review Source(s):


Last updated November 16, 2010.