All language subtitles for Classic Albums Lou Reed Transformer (2001)_en
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1
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It's just a little moment in time,
that's the fun of a record,
2
00:01:03,763 --> 00:01:07,033
but it's just this very ephemeral thing
that happens to be captured.
3
00:01:07,133 --> 00:01:10,536
You're not there any more. It's acting.
4
00:01:10,670 --> 00:01:17,009
Transformer, for me,
is a total timeless album
5
00:01:17,109 --> 00:01:19,712
that I'll still be playing when I'm 76.
6
00:01:36,462 --> 00:01:39,065
I really wanted it to work for him
7
00:01:39,165 --> 00:01:41,601
and be a memorable album
that people wouldn't forget.
8
00:01:41,767 --> 00:01:46,572
Transformer hones in
on a very specific sense of identity.
9
00:01:46,672 --> 00:01:48,774
And I think
David had a lot to do with shaping it
10
00:01:48,874 --> 00:01:54,313
because the album is somewhat of a tribute
to the Warhol scene.
11
00:02:05,358 --> 00:02:09,362
The great thing about Transformer
is that it sounds great now
12
00:02:09,462 --> 00:02:12,498
because it was not made to sound like 1972.
13
00:02:12,698 --> 00:02:15,067
And what he was singing about,
14
00:02:15,167 --> 00:02:16,967
of course,
if my mother could've understood I,
15
00:02:17,036 --> 00:02:18,671
she would have been absolutely appalled.
16
00:02:34,854 --> 00:02:39,125
I don't know what people get opened up to.
17
00:02:39,225 --> 00:02:45,364
I was just writing about people I knew
and where I come from.
18
00:03:01,814 --> 00:03:04,650
We're sponsoring a new band.
It's called the Velvet Underground.
19
00:03:07,720 --> 00:03:10,222
And we're trying...
20
00:03:10,322 --> 00:03:12,267
Since I don't really believe
in painting any more,
21
00:03:12,291 --> 00:03:15,061
I thought
it would be a nice way of combining,
22
00:03:15,161 --> 00:03:19,131
and we have this chance
to combine music and art.
23
00:03:28,908 --> 00:03:33,579
I'd written most of the stuff before
I met him with similar interests.
24
00:03:33,679 --> 00:03:36,782
It was like a hand in a glove.
And he just said I was lazy.
25
00:03:37,216 --> 00:03:41,120
He said,
"How many songs did you write today?"
26
00:03:41,220 --> 00:03:42,354
And I said, "Five."
27
00:03:42,455 --> 00:03:48,027
He said, "Why didn't you write 107?
You're so lazy. You're just lazy.
28
00:03:48,127 --> 00:03:51,230
"You should be writing all the time."
29
00:03:51,330 --> 00:03:56,669
And so, I really admired
and do admire him to this day.
30
00:03:56,769 --> 00:04:00,439
There's no telling
where the group might have gone
31
00:04:00,539 --> 00:04:06,812
had Andy not met or heard the music,
or met the group.
32
00:04:06,912 --> 00:04:09,482
It seemed almost fated
33
00:04:09,582 --> 00:04:14,553
that the group would be
essentially connected with Andy Warhol.
34
00:04:14,754 --> 00:04:18,724
Andy was really supporting us.
He got us equipment.
35
00:04:18,824 --> 00:04:22,528
And we would go to The Factory
and Andy would feed everybody.
36
00:04:22,628 --> 00:04:26,499
He'd just take everybody out and he would
pay for it by doing some commercial art.
37
00:04:26,632 --> 00:04:29,101
The Factory was a place where Andy
38
00:04:29,335 --> 00:04:34,807
made paintings and shot films.
39
00:04:35,007 --> 00:04:39,578
It was a centre
where people would gather from time to time
40
00:04:39,678 --> 00:04:45,017
and exchange creative ideas,
kind of a laboratory.
41
00:04:45,117 --> 00:04:50,890
Most bands of the time were either writing
songs about love or how to get a girl,
42
00:04:50,990 --> 00:04:56,128
and the Velvets were like
a true newsreel footage.
43
00:04:56,295 --> 00:05:00,966
And they also seemed to be
pushing the boundaries of rock
44
00:05:01,066 --> 00:05:06,539
toward a place that was almost akin
to something like free jazz.
45
00:05:06,639 --> 00:05:10,376
The Velvet Underground,
you could actually sit there
46
00:05:11,544 --> 00:05:13,913
and actually work out the song
in about 10 minutes,
47
00:05:14,013 --> 00:05:17,449
and then the lyrics were so amazing,
So you memorised them.
48
00:05:17,550 --> 00:05:19,710
And you were off,
running around Britain with a guitar.
49
00:05:19,785 --> 00:05:25,057
The Velvet Underground were really
the seminal band for so many musicians.
50
00:05:25,157 --> 00:05:27,927
There's that old expression
that they didn't sell a lot of records,
51
00:05:28,027 --> 00:05:32,064
but everyone who bought one started a band.
And in a sense, it's very true.
52
00:05:32,198 --> 00:05:36,902
If that's true, I wish they'd
give me a piece of the royalties,
53
00:05:37,002 --> 00:05:40,840
but I don't know if that's true.
54
00:05:40,973 --> 00:05:44,877
I never cared about credibility
except from me. That's all.
55
00:05:44,977 --> 00:05:47,746
We always thought we were the best,
and I still do.
56
00:05:53,152 --> 00:05:56,322
When Lou left the Velvets,
he literally disappeared.
57
00:05:56,655 --> 00:06:00,960
He played Max's one night in August of 1970
and he was gone the next.
58
00:06:01,060 --> 00:06:04,230
Went back to Long Island,
worked for his father's firm.
59
00:06:04,330 --> 00:06:06,699
He literally walked away from everything.
60
00:06:06,866 --> 00:06:10,903
There'd been a real problem
with management.
61
00:06:11,003 --> 00:06:13,005
I went off to lick my wounds.
62
00:06:13,105 --> 00:06:15,341
My mother told me when I was in school,
she said,
63
00:06:15,441 --> 00:06:19,345
"You should take typing
so you have a profession to fall back on."
64
00:06:19,678 --> 00:06:22,781
At that time, it wasn't such mega news
65
00:06:22,882 --> 00:06:27,653
that it would reach
Sunderland's weekly newspaper.
66
00:06:27,753 --> 00:06:29,922
It was more, suddenly a record came out
67
00:06:30,022 --> 00:06:32,725
that wasn't the Velvet Underground,
but it was Lou Reed.
68
00:06:33,325 --> 00:06:35,427
It was not representative of his sound.
69
00:06:35,527 --> 00:06:40,699
It was made in London, it's made
with all these classy British session men.
70
00:06:41,033 --> 00:06:42,635
Rick Wakeman plays on it.
71
00:06:42,735 --> 00:06:47,239
Here's a guy from Yes, ultimately gonna be
in Yes, playing on a Lou Reed record.
72
00:06:47,439 --> 00:06:51,443
The first record was a flop,
"So go make another one."
73
00:06:51,543 --> 00:06:54,280
In those days, they gave you a chance.
You could go make another one.
74
00:07:18,837 --> 00:07:21,240
I think that, from what I understand,
75
00:07:21,440 --> 00:07:25,611
Lou and Bowie had met and were friendly,
and certainly had many things in common.
76
00:07:25,711 --> 00:07:30,683
And whoever's idea it was to put
them together, it's a brilliant idea.
77
00:07:30,849 --> 00:07:34,386
David was in town, we got introduced.
78
00:07:34,486 --> 00:07:37,756
I think the record label thought
he was very contemporary.
79
00:07:37,890 --> 00:07:42,928
And I thought all the records that
sounded good were coming out of London.
80
00:07:43,195 --> 00:07:45,497
I was petrified
81
00:07:45,597 --> 00:07:49,635
that he said yes, he would like
to work with me in the producer capacity,
82
00:07:49,735 --> 00:07:51,870
because I had so many ideas
83
00:07:52,104 --> 00:07:58,544
and I felt so intimidated by my knowledge
of the work that he'd already done.
84
00:07:58,644 --> 00:08:01,380
Even though there's sort of only
that much time between us,
85
00:08:01,480 --> 00:08:04,783
it seemed like
Lou had this great legacy of work.
86
00:08:05,050 --> 00:08:09,621
Lou wanted to reach the pop audience
87
00:08:09,722 --> 00:08:13,325
that David was skyrocketing on at the time.
88
00:08:13,425 --> 00:08:19,498
And David was consciously placing himself
within the artistic tradition of the Velvets.
89
00:08:25,204 --> 00:08:27,906
I never had kids
screaming at me particularly.
90
00:08:28,007 --> 00:08:31,443
They'd scream at David, not at me.
91
00:08:31,543 --> 00:08:34,747
Me, they would throw
syringes and joints on the stage.
92
00:08:35,381 --> 00:08:36,382
Isn't that a great line?
93
00:08:36,582 --> 00:08:41,653
Having someone like Bowie
help him get that kind of attention,
94
00:08:41,754 --> 00:08:44,923
get him the marquee value
of a producer's name.
95
00:08:45,024 --> 00:08:50,729
Produced by David Bowie and Mick Ronson,
that's valuable coin.
96
00:08:51,130 --> 00:08:53,232
I remember meeting him at Max's Kansas City
97
00:08:53,332 --> 00:08:55,276
and then he came
round to the hotel a couple of times
98
00:08:55,300 --> 00:08:58,670
and we'd sit around and talk about
the production of the Transformer album
99
00:08:58,771 --> 00:09:02,975
and he'd sit and play a new song
100
00:09:05,711 --> 00:09:08,313
and try and put it on a little
tape recorder or something.
101
00:09:08,480 --> 00:09:12,084
With Rono and David,
102
00:09:12,184 --> 00:09:14,787
there was a real
103
00:09:17,656 --> 00:09:23,629
simpatico, which is certainly part of
the situation I had in the Velvets
104
00:09:23,729 --> 00:09:28,901
and was miles above where I'd been
on the first Lou Reed record
105
00:09:29,001 --> 00:09:30,736
where there was nothing simpatico.
106
00:09:31,537 --> 00:09:35,107
So we were gonna go to London again.
This time with David and Rono.
107
00:09:48,120 --> 00:09:53,725
The thing about Transformer is
that it's not like a faux Velvets record.
108
00:09:53,826 --> 00:09:58,297
It was not full of old Velvets songs
that he was working his way through.
109
00:10:00,132 --> 00:10:06,205
This was new stuff.
It was an entirely new project.
110
00:10:06,638 --> 00:10:08,583
I couldn't be in the direction
of the Velvet Underground
111
00:10:08,607 --> 00:10:11,043
'cause only the Velvet Underground
could make that sound,
112
00:10:11,143 --> 00:10:12,878
and I didn't have a band.
113
00:10:12,978 --> 00:10:15,314
So I was gonna be stuck
with studio musicians.
114
00:10:15,481 --> 00:10:17,783
David phoned up and said,
115
00:10:17,883 --> 00:10:20,786
"Have you ever heard of a band
called Velvet Underground?"
116
00:10:20,886 --> 00:10:22,287
I said, "I think so."
117
00:10:22,387 --> 00:10:27,526
And he said, "One of the guys, Lou Reed,
wants to do an album,
118
00:10:27,626 --> 00:10:33,398
"and it's at Trident Studios. Do you
want to do it? It's three days' work."
119
00:10:33,732 --> 00:10:36,835
It was really good fun.
I really enjoyed myself in the studio.
120
00:10:37,836 --> 00:10:41,473
Lou Reed sat in the corner somewhere.
I can't remember ever seeing him actually.
121
00:10:41,573 --> 00:10:44,476
I don't remember seeing him there at all,
but he was there somewhere,
122
00:10:45,511 --> 00:10:49,047
in a gloomy corner with dark glasses on
and dressed in black.
123
00:10:49,381 --> 00:10:52,651
I just ran over the songs with them.
124
00:10:52,751 --> 00:10:56,188
By that,
I mean the chord structure and the melody.
125
00:11:27,953 --> 00:11:34,560
Vicious is a song that has its origins
in Reed's relation with Andy Warhol.
126
00:11:34,826 --> 00:11:37,029
He said, "Why don't you
write a song called Vicious?"
127
00:11:37,129 --> 00:11:40,966
I said, "'Vicious'? What kind of vicious?"
128
00:11:41,066 --> 00:11:47,472
He said, "Vicious, I hit you with a
flower," and I thought, "What a great idea."
129
00:12:01,119 --> 00:12:04,923
The whole set-up for this was to try
and make it a lot more basic
130
00:12:05,023 --> 00:12:07,626
than a lot of the Bowie things
that we'd done in the past.
131
00:12:08,794 --> 00:12:12,331
And we just started off with bass drums,
two guitars,
132
00:12:12,431 --> 00:12:15,934
and some of the tracks
had more overdubs than others.
133
00:12:16,034 --> 00:12:19,438
This particular one, Vicious,
it was kept sparse.
134
00:12:25,244 --> 00:12:30,782
And there was an effect that we tried that
I don't think was used in the mix at all,
135
00:12:30,882 --> 00:12:33,619
but it's still on the multi-track.
136
00:12:33,719 --> 00:12:36,955
It's a backwards echo on the...
137
00:12:37,789 --> 00:12:39,057
Gives this effect.
138
00:12:46,932 --> 00:12:48,767
Altogether, it becomes...
139
00:13:07,052 --> 00:13:08,954
Lou was so laid back.
140
00:13:09,054 --> 00:13:13,058
He'd walk into the studio and go, "Hey."
141
00:13:13,158 --> 00:13:16,028
Sit down on the chair, put his guitar on...
142
00:13:17,095 --> 00:13:19,498
It'd be all out of tune.
143
00:13:19,598 --> 00:13:25,270
They'd be, "We're ready."
But his guitar's way out of tune.
144
00:13:25,704 --> 00:13:28,473
And I'd wander off and tune it up a bit
145
00:13:28,573 --> 00:13:32,077
and Lou used to look at me like,
"Yeah, okay."
146
00:13:32,177 --> 00:13:35,747
He didn't really care whether it was in
tune or whether it was out of tune, really.
147
00:13:35,847 --> 00:13:37,249
He just wanted to sing the song.
148
00:13:37,349 --> 00:13:41,186
The thing with Rono is, I could
very rarely understand a word he said.
149
00:13:41,286 --> 00:13:45,824
He had a Hull accent.
He'd have to repeat things five times.
150
00:13:46,191 --> 00:13:48,260
But a really sweet guy.
151
00:13:48,460 --> 00:13:50,295
A great guitar player, a really sweet guy.
152
00:14:42,447 --> 00:14:44,249
I find out what the songs are about
153
00:14:44,349 --> 00:14:48,720
when I do them out loud in front
of an audience, actually performing them.
154
00:14:48,820 --> 00:14:53,692
And over the years, I realise
Satellite Of Love is really about jealousy.
155
00:14:53,792 --> 00:14:56,027
That's what I think it's about,
but I could be wrong.
156
00:14:56,128 --> 00:14:58,930
Just 'cause I wrote it,
it doesn't mean I know what it's about.
157
00:14:59,097 --> 00:15:03,368
It's a wonderful song essentially
about obsession, about stalking.
158
00:15:03,468 --> 00:15:07,105
And yet, it's really a beautiful ballad
159
00:15:07,205 --> 00:15:12,344
that also brings out the romance
that's at the heart of the obsession.
160
00:15:12,444 --> 00:15:15,981
This is somebody
who just is following someone everywhere
161
00:15:16,081 --> 00:15:17,225
'cause they don't trust them,
162
00:15:17,249 --> 00:15:23,955
but that lack of trust
is based in complete devotion.
163
00:16:03,895 --> 00:16:07,098
It's also got that
weird little humour in it,
164
00:16:07,199 --> 00:16:12,037
that whole bridge, "I've heard that you've
been out with Harry, Mark and John,"
165
00:16:12,137 --> 00:16:16,208
whoever they are. Tom...
166
00:16:16,308 --> 00:16:19,544
Whoever this person is,
she's out with everybody.
167
00:16:38,597 --> 00:16:40,398
When I hear Satellite Of Love,
168
00:16:40,499 --> 00:16:44,035
I think of all those kids standing
on the street corners of Brooklyn
169
00:16:44,135 --> 00:16:45,403
when I was a mere tad
170
00:16:45,504 --> 00:16:49,274
hitting notes and harmonising
and trying to sing Stormy Weather.
171
00:16:49,374 --> 00:16:55,547
To me, it's the doo-wop Lou, which
is a very sweet and tender part of him.
172
00:16:55,714 --> 00:16:57,916
Satellite, that's David.
173
00:16:58,016 --> 00:17:03,121
David's amazing
at background vocal parts. That...
174
00:17:03,221 --> 00:17:04,723
That's okay, that's really great,
175
00:17:04,823 --> 00:17:07,559
but the really great thing
is the high note at the end.
176
00:17:07,659 --> 00:17:11,897
Very few people could do that.
I just loved when he did that.
177
00:17:11,997 --> 00:17:15,934
It was just... What a move.
178
00:17:16,034 --> 00:17:19,738
See, I think everything
is really about details
179
00:17:19,838 --> 00:17:23,508
and that was the exclamation mark,
I thought,
180
00:17:23,608 --> 00:17:26,745
when he goes up like that.
Very few people could do that.
181
00:17:26,845 --> 00:17:28,747
Really pure and beautiful.
182
00:17:33,251 --> 00:17:36,555
There he goes. Isn't that great?
183
00:17:48,633 --> 00:17:50,201
It's that note.
184
00:18:15,093 --> 00:18:18,496
That might have been me. My God.
185
00:18:18,597 --> 00:18:24,135
I think the concept of Transformer
is very important
186
00:18:24,235 --> 00:18:30,909
because, in a sense, that's what
the Warhol scene offered to people,
187
00:18:31,009 --> 00:18:37,616
these odd misfits to transform
and become their inner beauty,
188
00:18:37,716 --> 00:18:43,121
whatever strange and eccentric forms
that might take.
189
00:18:43,221 --> 00:18:46,291
What Lou was writing from
190
00:18:46,391 --> 00:18:49,327
were experiences
that went back to The Factory.
191
00:18:49,427 --> 00:18:53,164
When he was sitting in The Factory and
observing this parade of people walking in
192
00:18:53,765 --> 00:18:59,604
and just coming from all kinds of
strange corners of culture and society,
193
00:18:59,738 --> 00:19:01,806
and watching them interact and mingle
194
00:19:01,906 --> 00:19:05,644
and try and make lives for themselves
in this freak show.
195
00:19:06,144 --> 00:19:09,014
In the beginning,
it was bunch of drug-type people,
196
00:19:09,114 --> 00:19:14,486
and then when I went to work there, it was
my job to get rid of all of those people.
197
00:19:16,321 --> 00:19:20,392
And then it was just people
that would do one day in a film with him
198
00:19:20,492 --> 00:19:24,295
and they would hang on for years
and years and years.
199
00:19:24,496 --> 00:19:29,567
I was a kid. I was 15 years old.
All I wanted to do was learn.
200
00:19:30,135 --> 00:19:34,139
And everyone just kept on wanting
to have my body
201
00:19:34,239 --> 00:19:37,742
and I went, "I don't want... I don't!
202
00:19:37,842 --> 00:19:41,546
"All wanna do is learn. I wanna grow."
203
00:19:44,949 --> 00:19:47,352
But nobody listens to a child.
204
00:19:47,519 --> 00:19:53,658
I used to keep a notebook,
but that was just to put down good lines.
205
00:19:53,758 --> 00:19:57,462
Like, people would say really funny things.
206
00:19:57,562 --> 00:20:00,031
But I hadn't thought
about writing about them,
207
00:20:00,131 --> 00:20:02,033
I don't know why I wrote about them.
208
00:20:10,942 --> 00:20:14,279
You know, I actually, I've always thought
of it more like a story thing.
209
00:20:14,512 --> 00:20:17,982
There is a book
by an author called Nelson Algren
210
00:20:18,249 --> 00:20:19,818
called Walk On The Wild Side.
211
00:20:19,951 --> 00:20:25,957
The book deals with the dregs of society,
as it were, the down-and-out.
212
00:20:28,193 --> 00:20:30,995
And this seemed to be a connection
that Lou had made.
213
00:20:31,196 --> 00:20:34,666
I read the book.
It's quite a book, to say the least.
214
00:20:34,766 --> 00:20:38,069
And I was working with these guys
that wanted to make a play out of it
215
00:20:38,169 --> 00:20:40,939
and they said, "There should be a song here
and maybe a song here,
216
00:20:41,072 --> 00:20:44,409
"and there's gotta be a title song."
So I was writing a title song.
217
00:20:44,509 --> 00:20:49,647
And then they got this offer
to go do Mahogany and they said, "See ya."
218
00:20:49,748 --> 00:20:51,492
So I had a song
called Walk On The Wild Side.
219
00:20:51,516 --> 00:20:56,588
So I re-wrote it and I put in everybody
from The Factory, Warhol's Factory.
220
00:20:57,021 --> 00:21:01,993
My friend called me up and said,
"There's a song about you."
221
00:21:02,093 --> 00:21:05,730
I said, "You're shitting me."
222
00:21:05,830 --> 00:21:09,934
And then I'm in a cab
223
00:21:10,034 --> 00:21:13,872
and they're going... "Holly came from..."
224
00:21:14,105 --> 00:21:17,542
I'm going, "How the hell does Lou Reed know
225
00:21:17,642 --> 00:21:22,180
"that I shaved my legs
and plucked my eyebrows?"
226
00:21:22,280 --> 00:21:27,485
I've never met him.
I met him once at a party at The Factory.
227
00:21:28,686 --> 00:21:32,524
But we didn't have intimate relations.
228
00:21:53,678 --> 00:21:58,349
Candy and Jackie and Holly were...
229
00:22:00,685 --> 00:22:02,620
It's funny, you think back now,
230
00:22:02,720 --> 00:22:06,758
you wanna call them "transvestites"
or are they "transsexuals" now?
231
00:22:06,858 --> 00:22:09,093
The vocabulary has evolved,
232
00:22:09,460 --> 00:22:12,197
but they never pretended the fact
that they were men to begin with.
233
00:22:12,297 --> 00:22:14,299
Especially Candy was very ladylike.
234
00:22:14,399 --> 00:22:17,101
Candy and I were very close
and we used to go out on dates together,
235
00:22:17,202 --> 00:22:20,638
so I never thought for a second
I was going on a date with a man.
236
00:22:20,738 --> 00:22:22,207
It's one of those things.
237
00:22:42,460 --> 00:22:45,597
I never met Lou.
The character that he wrote about,
238
00:22:45,697 --> 00:22:49,400
he just took it from having seen the movies
that I did with them.
239
00:22:49,601 --> 00:22:52,804
My starring roles were
Flesh, Trash and Heat,
240
00:22:52,904 --> 00:22:55,707
the trilogy I did
with Paul Morrissey and Andy.
241
00:22:56,074 --> 00:23:00,945
And so he just took it from the roles
that he saw me playing.
242
00:23:01,045 --> 00:23:03,681
And because the early Factory,
the movies that they made,
243
00:23:03,781 --> 00:23:06,951
whoever appeared in them
were just playing themselves.
244
00:23:07,051 --> 00:23:10,455
And that wasn't the case with me.
245
00:23:10,555 --> 00:23:15,526
Anyway, so he wrote a song
about that character.
246
00:23:15,627 --> 00:23:16,928
I thought it was cool.
247
00:23:39,784 --> 00:23:42,987
We searched and searched
248
00:23:43,087 --> 00:23:46,624
and what the Sugar Plum Fairy was
249
00:23:46,724 --> 00:23:50,962
was a drug dealer.
250
00:23:53,998 --> 00:23:58,736
And that's what they called him,
"Sugar Plum Fairy."
251
00:23:59,537 --> 00:24:04,676
That was his name,
this hustler out of San Francisco.
252
00:24:10,248 --> 00:24:12,884
A friend of Andy's or somebody's.
253
00:24:12,984 --> 00:24:15,954
Certainly not a friend of mine,
I didn't know him.
254
00:24:16,087 --> 00:24:20,224
But with a name like that,
it was too good to leave it alone.
255
00:24:20,325 --> 00:24:23,361
I mean, now you have Snoop Doggy Dogg,
256
00:24:23,461 --> 00:24:26,164
but I think Sugar Plum Fairy
preceded the Dogg.
257
00:24:43,081 --> 00:24:46,651
You listen to Walk On The Wild Side,
there's not much going on in that track.
258
00:24:46,751 --> 00:24:53,124
You have that really great swinging,
weird waltz-time jazz bass and the sax,
259
00:24:53,224 --> 00:24:57,161
but there's not a lot of guitar,
260
00:24:57,261 --> 00:25:00,999
there's not a lot of music
crowding Reed's voice.
261
00:25:01,265 --> 00:25:06,104
The bass is probably one of the most
famous bass lines around,
262
00:25:06,204 --> 00:25:09,574
and it consists actually of two basses.
263
00:25:09,674 --> 00:25:14,412
Herbie Flowers started off playing
an upright with the track
264
00:25:14,512 --> 00:25:19,617
and he had this very strange idea,
which David let him go along with,
265
00:25:19,717 --> 00:25:21,586
where he wanted to double track it.
266
00:25:21,853 --> 00:25:26,224
There was a crafty little thing
that us session musos used to get up to.
267
00:25:26,324 --> 00:25:30,762
The recording rate was, I think,
12 pounds for three hours,
268
00:25:30,862 --> 00:25:36,367
but if you overdubbed,
that meant put another instrument down,
269
00:25:37,301 --> 00:25:38,770
you got double the money.
270
00:25:39,771 --> 00:25:42,140
So he started off
playing the acoustic bass.
271
00:25:54,719 --> 00:25:57,221
I put the double bass down first.
272
00:25:59,857 --> 00:26:03,928
When I say first,
with the guitar and the drums.
273
00:26:07,698 --> 00:26:12,737
So I then asked Ken, the engineer,
if I could go straight back down
274
00:26:12,837 --> 00:26:18,009
and overdub the electric bass in tenths.
275
00:26:18,109 --> 00:26:24,982
Just to give it a little bit
more atmosphere or character.
276
00:26:30,988 --> 00:26:32,557
When we first started this,
277
00:26:33,825 --> 00:26:38,663
the drummer was told what was wanted
278
00:26:38,763 --> 00:26:42,066
and he started playing it with sticks,
279
00:26:42,166 --> 00:26:46,471
and I was upstairs in the control room
and it sounded like a march.
280
00:26:46,571 --> 00:26:49,574
So I just quickly dashed down
and told him to try brushes.
281
00:26:49,774 --> 00:26:53,845
It stuck. Everyone liked it.
This is how it finished up.
282
00:27:17,101 --> 00:27:21,272
I think that Walk On The Wild Side
by fluke got on the radio.
283
00:27:21,372 --> 00:27:25,309
And it was of course, such a catchy tune.
284
00:27:26,244 --> 00:27:30,848
I don't even think people really understood
what the subject matter was to a great extent,
285
00:27:30,948 --> 00:27:34,018
so that the people who did understand I,
were very amused by it.
286
00:27:34,385 --> 00:27:37,655
It took, I think, probably
nine or 10 months
287
00:27:37,755 --> 00:27:43,427
before a disc jockey called Johnnie Walker,
he actually phoned me up and said,
288
00:27:43,528 --> 00:27:47,899
"I've just heard an
album called Transformer
289
00:27:47,999 --> 00:27:51,102
"and I'm picking a track
called Walk On The Wild Side
290
00:27:51,202 --> 00:27:55,706
"as record of the week next week."
And I said, "But the lyrics..."
291
00:27:55,840 --> 00:27:59,977
The BBC just didn't know what
"Even when she was giving head" meant.
292
00:28:00,077 --> 00:28:03,681
And so it goes on the radio and
of course all these young guys are like,
293
00:28:03,781 --> 00:28:06,984
"Hey, BBC missed that one!"
294
00:28:22,333 --> 00:28:27,071
I never thought of having a hit.
Wild Side be a hit? You gotta be kidding.
295
00:28:27,171 --> 00:28:31,409
No. But I didn't think
about anything being a hit.
296
00:28:51,996 --> 00:28:53,898
Lou really walked on the wild side.
297
00:28:53,998 --> 00:28:56,167
He walked it like he talked it.
298
00:28:58,336 --> 00:29:03,140
And people like stories of explorers
going out into the wilderness
299
00:29:03,241 --> 00:29:05,343
and bringing him back alive.
300
00:29:05,443 --> 00:29:07,578
And Lou did.
301
00:29:07,678 --> 00:29:09,680
He brought back these character portraits
302
00:29:09,780 --> 00:29:13,651
from a world
that people were intensely interested in.
303
00:29:13,851 --> 00:29:17,421
Well, let me backtrack,
304
00:29:18,022 --> 00:29:19,457
William Burroughs had been there,
305
00:29:19,557 --> 00:29:22,627
Allen Ginsberg had been there,
Hubert Selby had been there,
306
00:29:22,727 --> 00:29:26,797
but it was unchartered territory
for song lyrics.
307
00:29:26,897 --> 00:29:29,967
Except maybe in old blues writers.
308
00:29:30,167 --> 00:29:33,604
Now, most pop lyrics,
you just can't read as poetry
309
00:29:33,704 --> 00:29:37,475
because they're totally
connected to the music.
310
00:29:37,575 --> 00:29:41,545
And if you take the music away,
it starts to sound a bit strange.
311
00:29:41,646 --> 00:29:42,680
But with Lou's lyrics,
312
00:29:42,780 --> 00:29:46,384
you can actually just read them out
from a page like a brilliant poem.
313
00:29:46,484 --> 00:29:47,551
Andy's Chest.
314
00:29:47,652 --> 00:29:50,021
"If I could be anything
in the world that flew
315
00:29:50,288 --> 00:29:52,723
"I would be a bat and come
swooping after you.
316
00:29:52,823 --> 00:29:55,559
"And if the last time you were here
things were a bit askew.
317
00:29:55,926 --> 00:29:57,962
"Well, you know what happens after dark.
318
00:29:58,062 --> 00:30:00,731
"When rattlesnakes lose their skins
and their hearts.
319
00:30:00,831 --> 00:30:02,800
"And all the missionaries lose their bark.
320
00:30:03,100 --> 00:30:06,937
"Oh, all the trees are calling after you
And all the venom snipers after you.
321
00:30:07,038 --> 00:30:09,106
"Are all the mountains boulder after you."
322
00:30:23,287 --> 00:30:24,998
One of the things
I really like about Andy's Chest,
323
00:30:25,022 --> 00:30:28,926
is that it's a pretty song, but also,
324
00:30:29,026 --> 00:30:33,564
it's got this undercurrent
of certainly violence.
325
00:30:33,664 --> 00:30:38,502
It makes a reference
to the attempt on Warhol's life
326
00:30:38,969 --> 00:30:45,009
by Valerie Solanas, who had been a member
or hanger-out at The Factory
327
00:30:45,109 --> 00:30:48,446
and had developed
this feminist manifesto thing
328
00:30:48,546 --> 00:30:50,748
and she just decided that Warhol had to go.
329
00:30:50,948 --> 00:30:55,586
Andy was given a script
by this woman, Valerie Solanas,
330
00:30:57,488 --> 00:31:01,292
and because Andy didn't really read it,
he tossed it in the pile somewhere
331
00:31:01,392 --> 00:31:03,561
and then she psychologically felt
332
00:31:03,661 --> 00:31:06,430
that he was controlling her life
by not returning the script
333
00:31:06,530 --> 00:31:09,567
and the only way
that she could free herself psychologically
334
00:31:09,667 --> 00:31:11,702
was to symbolically shoot him.
335
00:31:11,802 --> 00:31:13,571
Maybe not intending to try and Kill him,
336
00:31:13,671 --> 00:31:17,608
but nevertheless,
she wounded him seriously.
337
00:31:17,708 --> 00:31:22,913
So it spun out of control, as it were.
338
00:31:23,214 --> 00:31:27,785
I'm not gonna explain it to you.
It's what I thought about Andy being shot.
339
00:31:27,918 --> 00:31:30,087
It's a love song.
340
00:31:30,187 --> 00:31:33,157
"And curtains laced with diamonds
dear for you.
341
00:31:34,925 --> 00:31:37,661
"And all the Roman noblemen for you.
342
00:31:38,429 --> 00:31:41,932
"And kingdom's Christian soldiers
dear for you.
343
00:31:42,633 --> 00:31:45,703
"And melting ice cap mountaintops for you.
344
00:31:46,137 --> 00:31:50,975
"Oh, and knights in flaming silver robes
for you.
345
00:31:51,409 --> 00:31:54,745
"And bats that, with a kiss
turn prince for you.
346
00:31:55,212 --> 00:31:58,349
"Swoop, swoop, oh, baby, rock, rock.
347
00:31:58,749 --> 00:32:01,419
"Swoop, swoop, rock, rock.
348
00:32:01,652 --> 00:32:04,722
"Swoop, swoop, rock, rock."
349
00:32:09,059 --> 00:32:10,060
He is a poet.
350
00:32:10,928 --> 00:32:17,601
And of course he more than anybody else
is identified with one particular city.
351
00:32:17,701 --> 00:32:22,840
I suppose
the Beatles were identified with Liverpool,
352
00:32:22,940 --> 00:32:26,844
but the Beatles
became very universal very quickly.
353
00:32:26,944 --> 00:32:29,480
Lou is always identified with New York.
354
00:32:35,486 --> 00:32:38,489
There's a very urban experience
related to Lou's work.
355
00:32:38,589 --> 00:32:43,194
It would be very funny to listen
to a song of Lou's where he's talking
356
00:32:43,294 --> 00:32:47,832
about flowing rivers and mountains
and trees.
357
00:32:49,667 --> 00:32:54,171
Lou's work is very much tied into
a New York urban experience, as it were.
358
00:32:54,305 --> 00:33:00,010
This is New York Telephone Conversation.
It's the shortest track on the album.
359
00:33:00,444 --> 00:33:02,889
The other thing that makes it
different from any of the others,
360
00:33:02,913 --> 00:33:05,716
is everything was recorded 16 track
361
00:33:05,850 --> 00:33:11,422
and this one,
we only used seven tracks of the 16.
362
00:33:11,522 --> 00:33:14,992
We had room to make it much, much bigger,
but it wasn't needed.
363
00:33:15,092 --> 00:33:19,563
It's just bass, cymbals and piano
and Lou and David doing vocals
364
00:33:19,663 --> 00:33:21,065
and it was all cut live.
365
00:33:36,547 --> 00:33:38,115
This is Lou's solo.
366
00:33:47,591 --> 00:33:49,260
Okay, David.
367
00:33:58,402 --> 00:33:59,403
Together.
368
00:34:21,458 --> 00:34:23,861
It's a great little social portrait
369
00:34:25,829 --> 00:34:30,167
of what in retrospect
was a very small scene
370
00:34:30,267 --> 00:34:34,872
gathered around the back room
of club on Park Avenue South,
371
00:34:35,506 --> 00:34:40,010
and the strange characters
that found themselves,
372
00:34:40,544 --> 00:34:41,912
found their sense of being.
373
00:34:54,825 --> 00:34:58,162
I think people always think
that artists are singing about themselves,
374
00:34:58,262 --> 00:35:01,131
that there's an element of autobiography,
375
00:35:01,265 --> 00:35:05,035
even if the artist thinks
they're creating a character.
376
00:35:05,135 --> 00:35:08,172
But the artist is creating a character
from what they know
377
00:35:08,272 --> 00:35:15,079
and so I believe
that there is that element of personality.
378
00:35:15,879 --> 00:35:18,182
People believed Lou.
379
00:35:18,282 --> 00:35:21,852
And I think to carry off those songs,
Lou had to believe Lou.
380
00:35:22,286 --> 00:35:27,424
I don't wanna go to an extreme and say,
"Is Shakespeare really Hamlet?
381
00:35:29,460 --> 00:35:33,497
"Or is he really Macbeth? Or is he
King Lear or is he this or is he that?"
382
00:35:36,300 --> 00:35:39,703
Not by any stretch of the imagination,
to compare myself,
383
00:35:39,803 --> 00:35:44,975
I'm just giving a really ludicrous example
to bring it back to earth a bit.
384
00:35:45,075 --> 00:35:48,112
But there's always parts of
your own experience and personality
385
00:35:48,212 --> 00:35:49,532
in whatever you're writing about.
386
00:35:49,813 --> 00:35:55,452
Lou is guilty of expressing
387
00:35:56,387 --> 00:36:01,992
a certain area concerning
deviant sex and drugs
388
00:36:02,092 --> 00:36:07,931
in such a brilliant way that it
did inflect a lot of what came after.
389
00:36:08,032 --> 00:36:12,803
And it did form people's image of him.
390
00:36:12,903 --> 00:36:17,875
And in a way, that's what I shot
when I shot the Transformer cover.
391
00:36:17,975 --> 00:36:21,078
I was shooting that.
I wasn't really shooting the love songs.
392
00:36:21,178 --> 00:36:25,683
So I only shot what he presented to me. It
was not my suggestion, the way he did it.
393
00:36:25,949 --> 00:36:30,688
David's ex-wife took me out and said,
"Let's dress you. You can't wear this.
394
00:36:30,788 --> 00:36:32,122
"Let's get you something."
395
00:36:32,890 --> 00:36:38,195
And there I was in rhinestones. I was
glorious. I love the pictures from them.
396
00:36:40,431 --> 00:36:43,167
The makeup I put on
was this stuff I found from Japan
397
00:36:43,267 --> 00:36:46,603
that took all the colour out of your face.
398
00:36:46,704 --> 00:36:48,348
"Cause everybody was saying,
"Pale New York,"
399
00:36:48,372 --> 00:36:52,943
so I tried to make it go one step further,
no blood.
400
00:36:53,177 --> 00:36:56,413
Originally, the concept for the back
of the cover was gonna be the front.
401
00:36:56,647 --> 00:37:02,586
That was my friend, Ernie,
and he just put a banana down there.
402
00:37:03,887 --> 00:37:07,224
If he was really like that, we all
would have been too jealous to let him...
403
00:37:07,825 --> 00:37:11,095
Never would have put him on the back,
just say, "Go away.
404
00:37:11,195 --> 00:37:12,555
"We don't even wanna be near you."
405
00:37:12,663 --> 00:37:14,641
A lot of people would ask me
if they were both Lou Reed,
406
00:37:14,665 --> 00:37:15,699
I remember at one point.
407
00:37:15,833 --> 00:37:22,272
That I have heard about,
people asking me, am I the woman?
408
00:37:22,639 --> 00:37:26,877
Am I the woman and the guy?
It's really funny.
409
00:37:27,878 --> 00:37:32,082
What was really great was that
they could think I could be both of them.
410
00:37:32,182 --> 00:37:33,884
That was really great.
411
00:37:34,151 --> 00:37:37,054
My God,
I could have had a whole new career.
412
00:37:37,254 --> 00:37:41,158
In certain ways, it's arguably
the definitive album of the times
413
00:37:41,258 --> 00:37:44,061
although you could also argue
for Ziggy Stardust.
414
00:37:44,161 --> 00:37:47,364
Or maybe those two,
Ziggy and the Transformer.
415
00:37:47,464 --> 00:37:52,669
But Transformer was
the perfect reflection of that summer.
416
00:37:52,770 --> 00:37:58,642
And in many ways, I have discovered
that the Transformer album cover represents
417
00:37:58,742 --> 00:38:02,179
the decadent glam thing
probably more than any other image.
418
00:38:11,655 --> 00:38:16,860
Glam and glitter rock in 1972 and '73,
for most kids, was about dressing up.
419
00:38:16,960 --> 00:38:19,296
And it was about testing sexual identity
420
00:38:19,396 --> 00:38:22,232
at an age when
you're still forming your sexual identity.
421
00:38:35,846 --> 00:38:41,185
There was this whole glam thing going on,
so I just put myself in that head.
422
00:38:41,285 --> 00:38:43,921
It's not like I had to
go very far to do it.
423
00:38:44,021 --> 00:38:47,925
I have about 1,000 selves running around,
it's easy.
424
00:38:48,025 --> 00:38:51,962
The thing about Transformer
and the best of Reed's records and songs
425
00:38:52,062 --> 00:38:54,364
is that they are not didactic.
426
00:38:54,464 --> 00:38:58,836
He is not telling you what is right and
what is wrong. He's telling you what is.
427
00:38:58,936 --> 00:39:02,706
And he's doing it in ways
that make you think.
428
00:39:23,961 --> 00:39:30,067
I listen to these songs and I can't
believe how perfect they feel today.
429
00:39:30,267 --> 00:39:32,369
Perfect Day is a great example.
430
00:39:32,469 --> 00:39:36,773
It was number one in England
25 years after it was written.
431
00:39:36,874 --> 00:39:38,609
It's a phenomenal song.
432
00:39:54,057 --> 00:39:56,293
I think it's just sublime.
433
00:39:56,960 --> 00:40:02,199
Lou wrote the piece
and somebody else extended it.
434
00:40:02,299 --> 00:40:03,579
It's like Shakespeare, isn't it?
435
00:40:04,034 --> 00:40:06,703
If the stuff's good, you can do anything.
436
00:40:43,540 --> 00:40:46,209
I think there's a whole confusion.
437
00:40:46,310 --> 00:40:49,613
People talk about singers
and who's a great singer
438
00:40:49,713 --> 00:40:51,581
and who's a great guitar player
439
00:40:51,682 --> 00:40:55,686
and they confuse it
with some Olympian feat of singing,
440
00:40:55,786 --> 00:41:01,325
of vocal acrobatics or guitarists
playing a million notes a second.
441
00:41:01,425 --> 00:41:05,595
But that's got nothing to do with
it really. It's the same in painting.
442
00:41:05,696 --> 00:41:09,366
Somebody could paint
the back garden scene absolutely perfectly,
443
00:41:09,466 --> 00:41:12,202
and somebody could come along
and do two brush strokes.
444
00:41:12,302 --> 00:41:18,875
And to me
the more refined your songwriting gets,
445
00:41:19,609 --> 00:41:21,311
the less brush strokes you're using.
446
00:41:44,901 --> 00:41:46,370
It's a fantasy, Perfect Day.
447
00:41:46,503 --> 00:41:48,105
The whole thing's about
448
00:41:48,405 --> 00:41:52,142
not just, "You're gonna reap what you sow,"
which is cliché, but the line before it,
449
00:41:53,510 --> 00:41:57,080
"I thought I was somebody good."
I liked that idea.
450
00:42:13,363 --> 00:42:16,733
When you start to understand
songs like Perfect Day,
451
00:42:20,037 --> 00:42:22,305
and the feeling that comes from that song,
452
00:42:22,406 --> 00:42:27,844
which is steeped in some drug-crazed,
453
00:42:29,279 --> 00:42:34,718
scary, dark feeling,
with this beautiful melody going on.
454
00:42:34,818 --> 00:42:38,755
I think he was one of the writers
455
00:42:38,855 --> 00:42:44,895
that taught me things
about light and shade and darkness.
456
00:42:46,997 --> 00:42:53,336
And taking all of that music
that turned into, sort of, Disneyland,
457
00:42:53,437 --> 00:42:57,774
and defusing it and making it into
Blackland meets Disneyland or whatever.
458
00:42:57,874 --> 00:43:02,879
So you always have
this weird feeling in the music
459
00:43:02,979 --> 00:43:07,918
that could go really scary now
or it could suddenly become all right.
460
00:43:08,118 --> 00:43:12,889
Every song I've ever written in my life,
I've tried to write emotionally.
461
00:43:14,357 --> 00:43:19,229
And all the songs are geared
to try to cause an emotion,
462
00:43:19,329 --> 00:43:21,398
and they're always about conflict.
463
00:43:21,565 --> 00:43:24,468
Lou used to say some funny things.
464
00:43:24,568 --> 00:43:28,138
I can't remember
quite what he used to say to me, but...
465
00:43:30,874 --> 00:43:36,146
Some things like,
"Can you make it a little bit more grey?"
466
00:43:36,246 --> 00:43:39,483
Then to me, it was like,
"What the hell is talking about?"
467
00:43:41,518 --> 00:43:46,890
I guess he was just trying to explain
things in a more artistic way or something.
468
00:43:46,990 --> 00:43:49,092
That was going over my head a bit.
469
00:44:04,975 --> 00:44:06,710
Isn't that beautiful?
470
00:44:13,717 --> 00:44:16,086
Boy, Ronson's good.
471
00:44:41,611 --> 00:44:43,947
Isn't that amazing just like that?
472
00:44:46,416 --> 00:44:48,895
See, I think sometimes
with a really good arrangement and parts,
473
00:44:48,919 --> 00:44:50,453
you don't need a vocal.
474
00:44:50,720 --> 00:44:54,324
He always said that he made records
when he was in the Velvets
475
00:44:54,424 --> 00:44:55,926
and later on, his idea of a record
476
00:44:56,026 --> 00:44:58,762
was something in which
he was talking directly to you.
477
00:44:58,862 --> 00:45:01,364
You were in one room
sitting across from each other
478
00:45:01,464 --> 00:45:02,824
and he was singing directly to you
479
00:45:02,866 --> 00:45:04,868
and you hear that
in the character of his voice.
480
00:45:04,968 --> 00:45:09,339
Everybody can talk about
tracks on Transformer
481
00:45:09,439 --> 00:45:11,975
and you go, "Vicious, Perfect Day,
482
00:45:12,075 --> 00:45:15,478
"Walk On The Wild Side, Make Up,
Andy's Chest,"
483
00:45:15,579 --> 00:45:20,083
but Goodnight Ladies is just, I think,
the best song on the album.
484
00:45:20,183 --> 00:45:23,787
It's just this fantastic number
485
00:45:23,887 --> 00:45:27,057
which sounds like a load of guys
clowning about.
486
00:45:27,557 --> 00:45:31,161
I don't whose idea was,
"Let's bring in an oompah band,"
487
00:45:31,261 --> 00:45:34,831
which is not what they it in London,
whatever you call it.
488
00:45:34,931 --> 00:45:38,602
And David went and got one,
or someone went and got one.
489
00:45:39,069 --> 00:45:41,805
And this is what they sounded like.
490
00:45:53,783 --> 00:45:56,419
This one features Herbie playing tuba.
491
00:46:04,861 --> 00:46:08,698
I think the last track that was recorded
was Goodnight Ladies.
492
00:46:08,798 --> 00:46:13,937
And by then, we're running out of steam
and it felt like,
493
00:46:14,037 --> 00:46:17,340
"Here's a song and
it's got a steady lilt to it."
494
00:46:17,540 --> 00:46:24,247
And I thought, "Maybe
it should just have...
495
00:46:24,581 --> 00:46:28,885
"Can I use tuba on it
and can I phone up a trumpet?"
496
00:46:28,985 --> 00:46:30,754
I have a dixieland band.
497
00:46:42,832 --> 00:46:46,036
Don't forget the absurd mixture of people.
498
00:46:46,136 --> 00:46:49,572
The music was always going to be
a bit off the wall
499
00:46:49,706 --> 00:46:54,678
and no way would it have ever been
a copy of the Velvet Underground
500
00:46:54,778 --> 00:46:56,880
because Lou wouldn't have wanted that.
501
00:46:56,980 --> 00:47:02,118
I'd never heard of them
and it just seemed a good idea at the time.
502
00:47:02,385 --> 00:47:04,321
And then you think of the imagery.
503
00:47:04,421 --> 00:47:09,526
There's David Bowie on the production desk
with Mick Ronson.
504
00:47:09,626 --> 00:47:11,728
These rock gods.
505
00:47:11,828 --> 00:47:16,232
And there's this bunch of wily, old
session musicians with a brass band
506
00:47:16,333 --> 00:47:21,638
doing this bizarre song,
which I just think is absolutely fantastic.
507
00:47:21,738 --> 00:47:24,174
And then you listen to the lyrics
508
00:47:24,274 --> 00:47:30,413
and it is about a guy who's lost in love
again and it's the forlornness of that.
509
00:47:30,513 --> 00:47:33,216
And that's Lou Reed. It's a Lou Reed song.
510
00:47:44,361 --> 00:47:48,198
People wanted to hear Transformer.
They wanted to hear Walk On The Wild Side.
511
00:47:48,365 --> 00:47:52,335
And because there was enough of them,
it became a hit.
512
00:47:52,435 --> 00:47:56,539
One of the most unlikely hits of that year,
or probably any other year.
513
00:47:56,673 --> 00:48:01,745
The amount of time
that went from Lou's darkest nights
514
00:48:01,845 --> 00:48:06,950
to suddenly him being the star
that he could never be in the Velvets
515
00:48:07,050 --> 00:48:08,651
was less than a year.
516
00:48:08,752 --> 00:48:10,930
It's really quite extraordinary
when you think about it.
517
00:48:10,954 --> 00:48:13,857
Transformer was just a massive album.
518
00:48:14,090 --> 00:48:17,861
I actually think it's a brilliant album,
but I'm not too sure
519
00:48:17,961 --> 00:48:23,166
that Lou thinks it's particularly
his favourite album or whatever.
520
00:48:23,400 --> 00:48:27,137
I think part of him felt, to a degree,
521
00:48:27,237 --> 00:48:32,475
that maybe there was psychologically
a little compromise with Transformer.
522
00:48:32,575 --> 00:48:36,312
But he's wrong. It's a brilliant album.
523
00:48:36,413 --> 00:48:40,216
And the fact
that it was commercially successful, well,
524
00:48:40,316 --> 00:48:42,085
he just got lucky with that.
525
00:48:42,652 --> 00:48:44,454
It's just an album.
526
00:48:45,922 --> 00:48:49,259
They're just songs.
527
00:48:49,359 --> 00:48:52,362
You do an album
and then you have the rest of your life.
528
00:49:46,349 --> 00:49:49,285
You guys were pure pleasure, I must say.
47832