*2026 Stock. Remastered under Lou's direct personal supervision.*  Released by RCA in November 1972, Transformer is the second solo album by Lou Reed, and the record that finally hauled him out of the Velvet Underground’s shadow and into broader consciousness. Produced by David Bowie and Mick Ronson, both ardent Velvet devotees, the album fuses Reed’s laconic street‑level storytelling with the glam‑rock sheen of Ziggy‑era London. Sessions at Trident Studios in the summer of ’72 saw Reed’s rough sketches re‑imagined with Ronson’s flash guitar, lush string arrangements and carefully sculpted dynamics, framing Reed not as a cult downtown poet but as a fully fledged rock star without sanding off his edges.

Across its 36 minutes, Transformer traverses a remarkably varied terrain while staying unmistakably Reed. Opener “Vicious,” reportedly sparked by Andy Warhol’s offhand suggestion (“you know, like I hit you with a flower”), rides a chugging riff and Ronson’s glam‑bite leads, setting a tone of playful menace. “Andy’s Chest” and “Satellite of Love,” both reworked from Velvet‑era material, are slowed and thickened into pop miniatures far more emotionally resonant than their earlier, brisker incarnations. “Perfect Day,” with its piano, strings and ghostly backing vocals, is a baroque torch song whose ambiguous lyrics have invited readings from heroin reverie to fragile domestic bliss. Elsewhere, cabaret‑tilted tracks like “Make Up” and the closing “Goodnight Ladies” lean into Reed’s fascination with Weimar and Broadway, while “Wagon Wheel” and “I’m So Free” keep a foot in swaggering rock’n’roll.

At the centre is “Walk on the Wild Side,” Reed’s most famous song and one of the strangest hits to ever crack mainstream radio. Over Herbie Flowers’ iconic doubled bass line and a brushed, unhurried groove, Reed sketches unblinking portraits of Warhol Factory figures Holly Woodlawn, Candy Darling, Little Joe, Sugar Plum Fairy and Jackie, touching frankly on male prostitution, trans identity, drugs and downtown hustling at a time when such topics were barely spoken of in pop. Ronnie Ross’s baritone sax coda and the Thunder Thighs’ doo‑doo backing vocals give the track its indelible shape; together with “Perfect Day,” it cemented Transformer as both a commercial and artistic breakthrough.

Part of the album’s enduring charge lies in how it handles sexuality and persona. Songs like “Make Up” and “I’m So Free” function as a kind of coded coming‑out, addressing queer identity with a matter‑of‑factness Reed rarely offered in interviews, at a moment when rock remained largely heteronormative on the surface. Bowie and Ronson’s production doesn’t just decorate these themes; it amplifies them, bathing Reed’s deadpan delivery in strings, choruses and glam guitar that make the tension between presentation and content even more vivid. Critics have long noted the album as a pivot: a clean line between the bare, sometimes awkward debut Lou Reed and the more confident solo voice that would run through Berlin, Coney Island Baby and beyond.