Lou Reed - Transformer (Analogue Audiophile Mastering)
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Vinile 180g, 1 Lp, Album, Pure Analogue Audiophile Mastering | Etichetta: Speakers Corner | Anno Uscita 2004 | Genere: Rock | 1 LP, 11 Track
Faithful reproduction of the original cover and label
ARTIST: Lou Reed
ALBUM: Transformer
LABEL: Speakers Corner
FORMAT: Vinile 180g, 1 Lp, Album, Pure Analogue Audiophile Mastering
RELEASE DATE: 01/10/2004
FIRST PUBLICATION DATE: 06/11/01972
GENRE: Rock
TRACK:
Side A
1. Vicious
2. Andy's Chest
3. Perfect Day
4. Hangin' 'Round
5. Walk on the Wild Side
Side B
1. Make Up
2. Satellite of Love
3. Wagon Wheel
4. New York Telephone Conversation
5. I'm So Free
6. Goodnight Ladies
(RCA LSP 4807) Lou Reed (voc, g, arr), Mick Ronson (voc, g, p, arr); David Bowie (voc, arr); Ronnie Ross (sax); Klaus Voorman (b), Herbie Flowers (tu, b); John Halzey, Barry Desouza; Ritchie Dharma (dr) - Recorded in 1972 by Arun Chakranerty. Produced by David Bowie and Mick Ronson. It is well known that comparisons rarely hit the mark and, in the case of Lou Reed, they rather reveal the utter irrationality of the people who created them. Is Lou Reed the Chuck Berry or the Sergent Pepper of the 1970s, or is he himself constructing the image of a hypersensitive Frankenstein who has turned his neuroses and hallucinatory journeys into horrible sounds? Rolling Stone magazine thundered: ‘Some records are so unbelievably repugnant that one feels like taking physical revenge on the artists who commit such offences’. The album ‘Transformer’, however, is far from being all that. Released only a few months after the admittedly somewhat unsuccessful appearance of the artist's first underground record, ‘Transformer’ immediately climbed all the charts. The record was born under the watchful eye of the two British guardian angels, David Bowie and Mick Ronson, who knew how to steer Lou Reed's artistic qualities into safe waters, without diminishing his biting sarcasm and incredible provocative essence. In ‘Transformer’ coexist the scratchy guitar rock of ‘Vicious’, the bittersweet melodies of the ballad ‘Perfect Day’ and even the old-fashioned jazz parody ‘Goodnight Ladies’, sung with a tongue as heavy as lead. So what is the point of comparing this original musical mix to something else, when all you have to do is listen to it for what it is, which is a cult album?
