#3/1000: Lou Reed "Transformer" (1972)

Few albums ever have the stuff to make me stand up and proclaim, "5 Stars!" Lou Reed's second solo album "Transformer" is one, however, that stands up and proclaims it for itself. With The Velvet Underground days already 2 years behind him, Reed enlisted the the help of Mick Ronson and David Bowie (both of whom cited Lou and the VU as heavy influences) to co-produce the 11 darkly-lit pop gems that make up this stellar album. It's always been mind-blowing to me that out of all the catchy, clever, and melodic songs this record has to offer, "Walk On The Wild Side" was the one chosen as the first single! I'm sure most people had to listen to the lyrics a few times before they could really believe what they were hearing was actually playing on the radio. Despite the grim subject matter and lewd lyrics, the song has stayed a staple on classic rock stations and remains the forerunner in people's minds when they hear the name Lou Reed.

The album starts out (yeah, that was just an introduction) with the very basic Velvet Underground-type repetitive droning riff through the entirety of the opener "Vicious." The eyebrow-raiser here, though, is how bright, accessible, and enjoyable the music is. I'm a huge fan of the VU, but very few of their songs make me wanna dance around in my socks on my living room floor. Things quickly get serious on the second track "Andy's Chest;" like, get ready to sway and sing along with the ba-da-baa's. The mood cools off a little with the somber and beautiful "Perfect Day," then picks right back up where "Vicious" left off with the dancier "Hangin' Round." "Walk On The Wild Side" is next, followed by the awesome tuba-accompanied "Make Up," one of my favorites from the record. There are strong whiffs of David Bowie throughout the album, but none more potentate than on "Satellite of Love;" an earlier Velvet Underground b-side from "Loaded." Bowie pumped some serious production and vocal magic into this already strong song. "Wagon Wheel" is the perfect follow-up with it's finger-snapping rhythm and swaggering guitars and percussion. "New York Telephone Conversation" (another unused VU song) is a light romp followed by what I consider to be the weakest track "I'm So Free." The album ends on a perfect note with the drunken "Goodnight Ladies;" Reed puts on his lounge singer persona and is backed by some soft piano work, a bouncy tuba, crisp hi-hats and rimshots, and just a handful of brass and woodwinds. This album is absolutely essential to anyone who loves music - period. I initially discovered it when skimming through a "Top 100/500/whatever" list nearly a decade ago; hopefully this can help you discover it the same way right now.