Lou Reed Transformer Zip
• ' Released: November 8, 1972 • ' Released: February 1973 • ' Released: 1973 Transformer is the second solo by American recording artist. The album is considered an influential landmark of the genre, anchored by Reed's most successful single, ', which touched on controversial topics of sexual orientation and drugs. Produced by and arranged by, the album was released in November 1972. Though Reed's had been unsuccessful, Bowie had been an early fan of Reed's former band, and used his own fame to promote Reed, who had not yet achieved mainstream success. Contents • • • • • • • • • • • • • Conception [ ] Background [ ] As with its predecessor, Transformer contains songs Reed composed while in (here, four out of ten). 'Andy's Chest' was first recorded by the band in 1969 and 'Satellite of Love' demoed in 1970; these versions were released on and, respectively.
For Transformer, the original up-tempo pace of these songs was slowed down. 'New York Telephone Conversation' and 'Goodnight Ladies' are known to have been played live during the band's summer 1970 residency at; the latter takes its title refrain from the last line of the second section ('A Game of Chess') of 's poem,: 'Good night, ladies, good night, sweet ladies, good night, good night.' , which is itself a quote from Ophelia in.
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Lou Reed Transformer
Lou Reed Transformer Mediafire
As in Reed's Velvet Underground days, the connection to artist remained strong. According to Reed, Warhol told him he should write a song about someone vicious. When Reed asked what he meant by vicious, Warhol replied, 'Oh, you know, like I hit you with a flower', resulting in the song '. Production [ ] Transformer was produced by and, both of whom had been strongly influenced by Reed's work with the Velvet Underground. Bowie had obliquely referenced the Velvet Underground in the cover notes for his album and regularly performed both ' and ' in concerts and on the BBC during 1971–1973. He even began recording 'White Light/White Heat' for inclusion on [ ], but it was never completed; Ronson ended up using the backing track for his solo album in 1974. Mick Ronson (who was at the time the lead guitarist with Bowie's band, ) played a major role in the recording of the album at, serving as the co-producer and primary session musician (contributing guitar, piano, recorder and backing vocals), as well as arranger, notably contributing the string arrangement for '.