Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 350+ of our top selling titles.
plus Unlimited access to 30000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at €10.99 per month, unless cancelled.
Upgrade for €1.09
Then just €10.99 / month. Cancel anytime.
Learn more
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the European Union version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points


In the spring of 1972, Lou Reed was hurtling towards obscurity. But, as Neil Crossley explains, the timeless beauty of his second solo album would propel the former Velvet Underground frontman from leftfield cult icon to global superstar status


For anyone with a zeal for rock trivia, the ive-storey building at 17 St Anne’s Court, London W1 will hold a particular allure.This was the location That former drummer Norman Sheield chose in March 1968 to launch Trident Studios, in a small alleyway in the heart of Soho. Over the next ive years, Trident would become the hub of some of the inest music ever recorded. It was here That he Beatles cut Hey Jude, where Bowie recorded Hunky Dory, he Rise And Fall Of Ziggy Stardust & he Spiders From Mars and Aladdin Sane, and where Elton John recorded such classics as Rocket Man and Your Song. It was also the studio where in August 1972, a 30-year-old Brooklyn-born musician with a seriously impressive back catalogue chose to record his second solo album.

It had been two years since Lou Reed walked away from one of the greatest and most inluential bands ever: he Velvet Underground. His eponymous irst solo album, released in April 1972 and recorded in Willesden, London, had been met with mixed reviews and dismal sales. Reed now faced the challenge of creating an album That could cross over from the hipster underground to the mainstream global market.

Over the course of three weeks in August 1972, Reed, along with two high-proile producers and one of the best engineers in the business, would create Transformer, an intoxicating blend of louche decadence and sublime songs. It’s a testament to Reed’s talent That, almost ive decades on, it remains a fresh, timeless and utterly unique masterpiece.


Despite his impressive back catalogue, Lou Reed was not big news in 1972. Fortunately, he had a famous fan, David Bowie, who was riding high ater the release of his ith album he Rise And Fall Of Ziggy Stardust And he Spiders From Mars in June 1972. Bowie was a huge Velvets fan. He covered White Light/ White Heat in his live shows and paid tribute to the band on Hunky Dory. Bowie and Reed shared the same record label RCA, and it was the label That approached Bowie to produce Reed’s new album.

“I was petriied That he said ‘yes’, That he would like to work with me in a producer capacity,” recalled Bowie in the documentary Classic Albums: Lou Reed – Transformer. “I had so many ideas and I felt so intimidated by my knowledge of the work he had already done… Lou had this great legacy of work.”

Purchase options below
Find the complete article and many more in this issue of Long Live Vinyl - Feb 2019
If you own the issue, Login to read the full article now.