10:00:00   Classic Albums Title Sequence
10:00:22 Still in: Transformer Cover
10:00:28 Still Out	
	
10:00:28 Archive In: Live in Brussels © RTBF/Reelin' In The Years
10:00:28 Music In: Vicious
10:00:41 Archive Out		
  	LOU REED: 
Its just a little moment in time, that’s the fun of a record, but its just this very ephemeral thing that happens to be captured, you're not there anymore - Its acting	
10:01:00 Music Out 
10:01:01 Music In: Satellite of Love
10:01:01 Still In - Lou, Side view, white make-up with guitar  
10:01:04 Still Out/Still In: Lou, front view with guitar, arm in air
10:01:08 Still Out/In: Lou w/rhinestone jacket and guitar	DAVE STEWART: 
Transformer for me is a total timeless album that I'll still be playing when I'm like 76. 	
10:01:12 Still Out/In: Lou, side-view rhinestone jacket and guitar,
10:01:14 Still Out/In: Lou, front view rhinestone jacket, arm on neck
10:01:16 Still Out/In: Lou, front view pullout with guitar
10:01:18 Still Out		
10:01:18 Archive In: Rock'n'Roll Heart © 3AM

10:01:22 Archive Out	DAVID BOWIE: 
I really wanted it to work for him, and be a memorable album that people wouldn't forget.	

10:01:34 Music Out	LENNY KAYE: 
Transformer hones in on a very specific sense of identity and I think David had a lot to do with  shaping it because the album is somewhat of a tribute to the Warhol Scene	
10:01:34 Music In - New York Telephone Conversation 
10:01:34 Archive In: Andy Warhol and his clan © Contemporary Films
10:01:45 Archive Out		

10:01:45 Music Out
10:01:45 Music In: Walk On The Wild Side	DAVID FRICKE:
 The great thing about Transformer is that it sounds great now because it was not made to sound like 1972.                                                                                                                                                                                       	
	MICK ROCK: 
And what he was singing about, course, if my mother could've understood it, she would have been absolutely appalled	
10:02:17 Caption In: Lou Reed
10:02:22 Caption Out

10:02:27 Music Out	LOU REED:
I don’t know what people get opened up to. I was just writing about people I knew and where I come from.	
10:02:27 Music In: Waiting For The Man
10:02:29 Caption In: I'm Waiting For My Man (The Velvet Underground (1967) )
10:02:33 Caption Out		
10:02:42 Music Out
10:02:42 Archive In: Andy Warhol © WNET/Thirteen 
10:02:44 Caption In: Andy Warhol, Artist
10:02:48 Caption Out	ANDY WARHOL:
 We're sponsoring a new band and its called the Velvet Underground, and we...we're trying… since I don’t really believe in painting anymore I think this is a nice way of combining, where we have this chance to combine music and art	
10:03:03 Music In: Waiting For The Man

10:03:16 Music Out
10:03:17 Archive Out	LOU REED:
I had written most of the stuff before I met him. With similar interest it was like a hand in the glove. He just said I was lazy. He said like ooh, how many songs did you write today? I said five, he said Why didn't you write ten? You're so lazy. You're just lazy, you know, you should be writing all the time. So…No, I really admired, and do admire him to this day. 	
10:03:33 Archive In: The Velvet Underground Screen Tests © the Warhol Foundation 
10:03:41 Archive Out
10:03:43 Caption In: Gerard Malanga, Warhol Associate
10"03:48 Caption Out	GERARD MALANGA:
There is no telling where the group might have gone had Andy not met or heard the music or met the group. It seemed almost fated that the group would be essentially connected with Andy Warhol 	
10:03:55 Archive In: Andy Warhol © WNET/Thirteen

10:04:02 Archive Out	LOU REED: Andy was really supporting us, I mean, he got us equipment, and we would go to the Factory and Andy would feed everybody. He would just take everybody out and he would pay for it by doing some commercial art. 	
10:04:07 Music In: I'm Waiting For The  Man
10:04:10 Archive In: Andy Warhol © WNET/Thirteen 

10:04:17 Archive Out/Archive In: Andy Warhol © WNET/Thirteen
10:04:25 Archive Out	GERARD MALANGA:
The factory was a place where Andy made paintings and …shot films. It was a kind of centre where people would gather from time to time and exchange creative ideas. Kind of a laboratory	
10:04:26 Caption In: Lenny Kaye, Musician
10:04:29 Caption out
10:04:29 Archive In: Screen Tests  © The Warhol Foundation

	LENNY KAYE:
Most bands of the time were either writing songs about love or how to get a girl, and Velvets were like a true newsreel of footage and they also seemed to be pushing the boundaries of rock toward a place that was almost akin to something like free jazz. 	
10:04:50 Music Out
10:04:51 Archive Out 
10:04:52 Caption In: Dave Stewart, Musician
10:04:56 Caption Out	DAVE STEWART:
The Velvet Underground you could actually sit there and actually, you know, work out the song in about ten minutes and then, the lyrics were so amazing so you'd memorise them and you were off, you know, run around Britain with a guitar.  	
10:05:02 Caption In: Timothy Greenfield-Sanders, Biographer
10:05:07 Caption Out	TIMOTHY GREENFIELD-SANDERS:
The Velvet Underground were really the seminal band for so many musicians you know there's that expression that they didn’t sell a lot of records but everyone that bought one started a band. And in a sense its very true	

10:05:24 Music In: I'm Waiting For The Man	LOU REED:
 Well, if that is true I wish they would give me a piece of their royalties. But … I don’t know if that’s true. I never cared about credibility except from me. I always thought we were the best, and I still do.	
10:05:24 Archive In: Screen tests  © The Warhol Foundation 
10:05:37 Archive Out	

10:05:38 Caption In: David Fricke, Editor Rolling Stone Magazine
10:05:39 Music Out
10:05:43 Caption Out	DAVID FRICKE:
 When Lou left the Velvets he literally disappeared. He played at Max's one night in August 1970 and he was gone the next. Went back to Long Island, you know… worked for his father's firm. He literally walked away from everything	
	LOU REED:
 Well, there had been a real problem with management. I went off to lick my wounds. My mother told me when I was at school, she said 'you should take typing so you have a profession to fall back on'.	
	DAVE STEWART:
 At that time it wasn’t such mega news that it would reach Sunderland's daily, weekly newspaper, it was more like suddenly a record came out that wasn’t The Velvet Underground, but it was Lou Reed. 	
10:06:13 Still In: Lou Reed's first album cover

10:06:20 Still Out	DAVID FRICKE: 
It's not representative of his sound. It was made in London... It was made with all those classy British session musicians, Rick Wakeman plays on it, you know. Here's a guy from, you know, Yes, ultimately gonna be in Yes, playing on a Lou Reed record.	
	LOU REED:
The first record was a flop, so go make another one. You know, in those days they gave you a chance - you could go and make another one	
10:06:35 Archive In: Pop 2  © INA
10:06:35 Music In: I'm So Free
10:06:38 Archive Out/In: Nationwide © BBC 
10:06:40 Archive Out/In: Pop 2
10:06:40 Caption In: I'm So Free 
10:06:44 Caption Out
10:06:44 Archive Out/In: Nationwide
10:06:45 Archive Out/In: Pop 2                                     
10:06:50 Archive Out/In: Nationwide
10:07:02 Archive out		
	TIMOTHY GREENFIELD-SANDERS:
I think that from what I understand, Lou and Bowie had met and were friendly and certainly had many things in common and whoever's idea it was to put them together, it was a brilliant idea.	
10:07:11 Still In - David Bowie, Iggy Pop and Lou Reed 

10:07:20 Still Out	LOU REED: 
David was in town, we got introduced, I think the record label thought he was very contemporary. I thought all the records that sounded good were coming out of London.	
10:07:24 Archive In: Rock'n'Roll Heart © 3AM
10:07:24 Caption In: David Bowie, Producer
10:07:28 Caption Out
10:07:28 Still In - Lou Reed and David Bowie on sofa
10:07:32 Still Out
10:07:32 Archive In: Rock'n'Roll Heart © 3AM
10:07:45 Archive Out 	DAVID BOWIE: 
I was petrified that he said yes, that he would like to sort of work with me in a producer capacity, because I had so many ideas and I felt so intimidated by my knowledge of the work that he had already done. I mean even though there's not that much time between us, it seemed like had this great legacy of work. 	

10:07:51 Archive In: Nationwide © BBC	LENNY KAYE:
Lou wanted to reach the pop audience that David was skyrocketing at the time, and David was consciously placing himself within the artistic tradition on the velvets. 	
10:08:05 Archive Out		
10:08:10 Music Out	LOU REED:
I never had kids screaming at me particularly, They'd scream at David not at me. Me, they would throw syringes and joints at on stage.  Isn't that a great line?	
	DAVID FRICKE:
Having someone like Bowie help him, you know, get him that kind of attention, get that kind of marquee value of a producers name; Produced by David Bowie and Mick Ronson you know, that's valuable, that’s valuable coin. 	
10:08:31 Archive In: Dancing In The Streets © BBC
10:08:34 Caption In: Mick Ronson, Producer
10:08:38 Caption Out

10:08:49 Archive Out	MICK RONSON:
I remember meeting him in Max's Kansas City, and then he came around to the hotel a couple of times. And we'd sit around and talk about the production of the Transformer album and, you know… he'd sit and play a new song, kinda trying put it on a little tape recorder or something, you know.	

10:09:09 Music In: I'm So Free	LOU REED:
With, you know, Ronno and David, there was, you know, a real simpatico, which is certainly part of the situation I had in the velvets and was you know, miles above where I had been on the first Lou Reed records, where there was nothing simpatico. So we were going to go to London again, this time with David and Ronno.	
	DAVID FRICKE:
The thing about Transformer is that it is not like a full Velvets record, its not full of old Velvet songs that he was working his way through, you know. This was new stuff; this was a new, an entirely new project.  	
10:09:32 Music Out	LOU REED:
I couldn’t be in the direction of the Velvet Underground, 'cos only the Velvet Underground could make that sound. And I didn’t have a band, so I was going to be stuck with studio musicians. 	
10:09:57 Caption In: Herbie Flowers, Session Musician

10:10:02 Caption Out

	HERBIE FLOWERS:
David phoned up and said have you ever heard of a band called Velvet Underground? I said.. I think so, and he said, well one of the guys, Lou Reed, wants to do an album and its at Trident Studios, do you wan to do it? Its three days work. 	
10:10:16 Caption In: John Halsey, Session Drummer
10:10:20 Caption Out

10:10:25 Still In: Lou w/ sunglasses, lighting sigarette
10:10:29 Still Out	JOHN HALSEY:
You know, it was really good fun, I really enjoyed my self in the studio. Lou Reed sat in the corner somewhere, I can't remember ever seeing him actually. I don’t remember seeing him there at all. But he was there somewhere in a gloomy corner with dark glasses on, dressed in black. 	
	LOU REED: 
I just, you know, ran over the songs with them. By that I mean the core structure and the melody. 	
10:10:36 Music In: Vicious 
10:10:46 Caption In: Vicious
10:10:51 Caption Out		
	DAVID FRICKE:
Vicious is a song that, you know, has its origin in Lou's relation with Andy Warhol	

 	LOU REED: 
He said, why don't you write a song called Vicious? I said Vicious, what kind of vicious? He said, Vicious, I hit you with a flower. I said oh, what a great idea.	
10:11:28 Archive In: Andy Warhol/ Pop 2 © Contemporary Films/INA
10:11:41 Archive Out
10:11:41 Still In - Ken Scott at mixing desk		

10:11:48 Still Out
10:11:50 Caption In: Ken Scott, Engineer
10:11:54 Caption Out	KEN SCOTT:
The whole set-up of this was trying to make it a lot more basic than lot of the Bowie things we had done in the past. We just started off with bass, drums two guitars, and some of the tracks had more drums than others, and this particular, Vicious, it was kept sparse. 	

10:12:46  Music Out	There was an effect that we tried that I don't think was used in the mix at all.   But it's still on the Multi-track. It was backwards echo on the…. And made this effect…. Here it comes….	
10;12:47 Archive In: Dancing In the Streets © BBC
10:12:49 Caption In: Mick Ronson. Producer
10:12:53 Caption Out

10:13:17 Archive Out	MICK RONSON:
You know Lou was so laid back, and he'd kind of walk into the studio, and go hey, you know, and sort sit down in a chair and put his guitar on brm, brm and it'd be all out of tune and I'd be Oh, are we ready brm, brm, brm, with these guitars puh, and, you know, way out, way out of tune, I'd be kind of wander off and I'd kind of tune it up a bit, and Lou used to look at me and you know, yeah, okay… he didn’t really care whether it was in tune or out of tune really . He just wanted to sing the song you know.	

10:13:27 Still In - Mick Ronson and Lou Reed in restaurant 
10:13:29 Still Out	LOU REED:
 The thing with Ronno, I could very rarely understand a word he said, he had this Hull accent. He'd have to repeat things five times.  But a really sweet guy, great guitar player, really sweet guy	
10:13:32 Music In: Satellite of Love 
10:13:47 Caption In: Satellite Of Love
10:13:52 Caption out
10:14:23 Music Out		
	LOU REED:
I find out what the songs are about when I do them out loud in front of an audience, actually performing them. And over the years I realised the Satellite Of Love is really about jealousy. That’s what I think it's about, but I could be wrong. Just because I wrote it doesn’t mean I know what it's about.	
10:14:41 Caption In: David Fricke, Editor, Rolling Stone Magazine 
10:14:45 Caption Out	DAVID FRICKE: 
It’s a wonderful song, essentially about obsession, about stalking and yet its really a beautiful ballad that also brings out the romance that is at the heart of the obsession., This is somebody who is just following someone everywhere because they don't trust them, but that lack of trust is based in complete devotion.	
10:15:04 Archive In: A Night With Lou Reed © Lightyear Ent. Inc.
10:15:05 Music In: Satellite of Love 

	
10:15:45 Archive Out	DAVID FRICKE:
Its also got that weird little, you know,  humour in it, that whole bridge; I heard that you've been out with, you know, Harry, Mark and John, whoever they are, you know, Tom, and you know.. She's out, whoever this person is, she's out with everybody	
10:16:00 Archive In:  A Night With Lou Reed © Lightyear Ent. Inc.
10:16:19 Archive Out		
10:16:21 Caption In: Lenny Kaye, Musician

10:16:24 Music Out
10:16:25 Caption out

10:16:30 Music In: Satellite Of Love 	LENNY KAYE:
When I hear Satellite Of Love, I think of all these kids standing on the street corner of Brooklyn, when I was a mere tad, hitting notes and harmonising and trying to sing Stormy Weather. To me it’s the do-wop Lou, which is a very sweet and tender part of him. 	
	LOU REED:
Satellite, that's David. David is amazing at background vocal parts, like bong, bong bong…That’s OK, that’s really great, but the really great thing is the high note at the end, I mean very few people could do that, I just love when he did that, I mean, what a move, I mean, see, I think everything is really about details, and that was the exclamation mark, I thought, when he goes up like that, very few people can do that, really pure and beautiful.	
	There he goes, isn’t that great? Its that note,

That might have been me - oh, my god.	
10:17:55 Music Out

10:18:20 Archive In: Andy Warhol and his clan © Contemporary Films	LENNY KAYE:
I think the concept of Transformer is very important because in a sense that’s what the Warhol scene offered to people, these odd misfits, to transform and become their inner beauty, whatever strange and eccentric forms that might take.

10:18:34 Archive Out	DAVID FRICKE:
But what Lou was writing from were experiences that went back to the factory, when he was sitting in the Factory and observing this parade of people walking in and just coming from all forms of strange corners of culture and society, and watching them interact and mingle and trying make lives with themselves in this freak show.  	
10:18:46 Still In  - Joe and Andy

10:18:55 Still Out
10:18:56 Caption In: Joe Dallesandro, Actor
10:19:01 Caption Out	JOE DALLESANDRO:
In the beginning there was like a bunch of drug-type people, and when I went to work there was my job to kind of get rid of all of those people, and then there was just people that would do one day filming with him and they would hang on for, you know, years and years and years. 	
10:19:06 Archive In: Home movie © Anton Perich 

10:19:10 Archive Out  
10:19:12 Caption In: Holly Woodlawn, Actress
10:19:17 Caption Out	HOLLY WOODLAWN:
I was a kid, I was fifteen years old, all I wanted to do was learn., you know, and everyone just kept on wanting to have my body, you  know,…I don’t, want you, I don’t want …I don’t. All I wanna do is learn, I wanna grow, mmm, but nobody listens to a child. 	
	LOU REED:
I used to keep a notebook, but that was just to put down good lines, like people would say really funny things. But I hadn’t thought about writing about them. I don’t know why I wrote about them. 	
10:19:42 Music In: Walk On The Wild Side 
10:19:52 Music Out		
	LOU REED:
I always thought of it as more like a story thing. 	
10:19:55 Still In - Book cover Walk On The Wild Side

	MICK ROCK: 
There is a book, by an author  called Nelson Algren, called Walk On The Wild Side

10:20:08 Still Out	GERARD MALANGA:
The book deals with the kind of dregs of society, as it were, the down and out. And this was seen to be a kind o connection that Lou had made.	

10:20:37 Archive In: Home Movie © Anton Perich	LOU REED:
I read the book, and it's quite a book , to say the least, and I was working with these guys who wanted to make a play out of it. And they were saying there should be a song here maybe a song here and there's gotta be a title song. So I was writing a title song, and then they got this offer to do Mahogany, and they said see you. So I had a song called Walk On The Wild Side and I re-wrote it and put in everybody from the Factory, Warhol's Factory.	

10:20:44 Archive Out

	HOLLY WOODLAWN:
A friend called me up and
said, there's a song about you. I said are you shitting me? And then I'm in a cab, and then drum, drum, and Holly came from…How the hell does Lou Reed know that I shave my legs, and plucked my eyebrows. I never met him. I met him once at a party at the Factory, but you know, we didn’t have intimate relations. 	
10:21:13 Music In: Walk On The Wild Side 
10:21:26 Caption In: Walk On The Wild Side
10:21:30 Caption Out
10:21:34 Archive In: Andy and his clan © Contemporary Films		
10:21:35 Music Out

10:21:39 Archive Out
10:21:42 Caption In: Gerard Malanga, Warhol Associate
10:21:46 Caption Out
10:21:50 Archive In: Andy and his clan © Contemporary Films

10:22:00 Archive Out	GERARD MALANGA:
Candy and Jackie and Holly were …you know, its funny, you look back now and you want to call them transvestites or are they transsexuals… The vocabulary has kind of evolved. But they never pretended to act that they were men to begin with. Especially  Candy was very ladylike. Candy and I were very close. We used to go out on dates together, so I never thought for a moment  that I was going out on a date with a man. You know, it's one of those things. 	
10:22:01 Music In: Walk On The Wild Side 
10:22:23 Archive In: Andy and his clan © Contemporary Films		
10:22:27 Music Out

10:22:30 Archive Out

10:22:36 Archive In: Andy and his clan © Contemporary Films

10:22:42 Archive Out	JOE DALLESANDRO:
I never met Lou, the character that he wrote about he just took it from having seen the movies that I did with them. My starring roles were Flesh, Trash and Heat, the Trilogy, with Paul Morrison, and Andy and so he just took it from the roles he saw me play. And because, in the Factory, the only movies that they made make, whoever appeared in it were just playing themselves and that wasn't the case with me. And anyway, he wrote a song about that character. That was cool.	
10:22:53 Music In - Walk On the Wild Side 
10:22:58 Archive In: A Night with Lou Reed © Lightyear Ent. Inc 
10:23:20 Archive Out		

10:23:33 Music Out	HOLLY WOODLAWN:
We searched and searched, and what the sugar plum fairy was, was a drug dealer. And that’s what they called him, the SugarPlum Fairy. 	
	LOU REED:
That was his name, this hustler out of San Francisco. A friend of Andy's, or somebody's. Certainly not a friend of mine, I didn't know him. But with a name like that it was too good to leave alone. I mean now, you have Snoop Doggy Dog, but I think SugarPlum Fairy proceeded the dog. 	
10:24:05 Music In: Walk On The Wild Side 
10:24:07 Archive In: A Night With Lou Reed © Lightyear Ent. Inc.
10:24:23 Archive Out	

	

10:24:30 Music out	DAVID FRICKE:
You listen to Walk On The Wild Side. There's not that much going on in that track. You have that really great swinging, kinda  of a weird waltz time bass and the sax, but there's not a lot of guitar, there's not a lot of music crowding Reed's voice. 	
10:24:43 Caption In: Ken Scott, Engineer
10:24:47 Caption Out	KEN SCOTT: 
The bass is probably one of the most famous bass lines around. It consists actually of two basses. Herbie Flowers started off playing an up-right with the track, and he had this very strange idea which David let him go along with, which he wanted to double track it	
10:25:07 Caption In: Herbie Flowers, Session Musician
10:25:12 Caption Out	HERBIE FLOWERS:
There was a crafty little thing that us session musicians used to get up to. The recording rate was I think 12 pounds for three hours. But if you overdubbed, that meant put another instrument down, you got double the money. 	
10:25:21 Music In: Walk On The Wild 	KEN SCOTT:
So he started off playing the acoustic bass	
	HERBIE FLOWERS:
I put the double bass down first. When I say first, with the guitar and the drums. So I then asked Ken, the engineer, if I could go straight down and double the electric bass in tenths. Just to give it a little bit more atmosphere or character.	
	KEN SCOTT:
When we first started this, the drummer was told kind of what was wanted, and he first started to play it with sticks. I was up-stairs in the control room and it sounded like a march. So I quickly dashed down and told him to try brushes. It' stuck, and everyone liked it. And this is how it finished up. 

10:27:01 Caption In: Timothy Greenfield-Sanders, Biographer
10:27:05 Caption Out
10:27:06 Music Out	TIMOTHY GREENFIELD-SANDERS:
I think 'Walk On The Wild Side' by fluke got on the radio and it was of course such a catchy tune and I don’t really think people understood what the subject matter was to a great extent, so that the people who did understand it were very amused by it. 	
	HERBIE FLOWERS:
It took, I think, probably nine or ten months before a disc jockey called Johnny Walker, he actually phoned me up and said, oh I've just heard an Album called Transformer, and I'm picking a track called Walk On The Wild Side as record of the week next week. And  I said, but the lyrics?	
10:27:39 Caption In: Tony Stewart, Journalist 
10:27:43 Caption out	TONY STEWART:
The BBC just didn’t know what 'even when she's giving head' meant, so it goes on the radio and of course all these young guys 'go hey, the BBC missed that one '	
10:27:47 Music In: Walk On The Wild Side 		
	LOU REED: 
I never thought of it being a hit. Wilds Side being a hit, you gotta be kidding. No. But I didn’t think of anything being a hit. 	
10:28:34  Caption In: Lenny Kaye, Musician
10:28:39 Caption Out

10:28:37 Music Out	LENNY KAYE:
Lou really walked on the wild side, he walked it like he talked it. And people like stories of explorers going out into the wilderness and bringing them back alive. And Lou did. He brought back his character portraits from a world that people were intensely interested in. 	

10:28:59 Still In - Book cover - Junkie 
10:29:00 Still Out/Still In: Book cover - Howl and other poems
10:29:01 Still In: book cover -  Last Exit To Brooklyn 
10:29:02 Still Out	LOU REED: 
Well, let me back track. William Boroughs had been there, Allen Ginsberg had been there, Hubert Selby had been there, but it was uncharted territories for song lyrics except maybe in old blues writers.
	
10:29:12 Caption In; Dave Stewart, Musician
10:29:16 Caption Out	DAVE STEWART:
In most pop lyrics, you can't read them as poetry, because they are totally connected to the music. If you take the music away, it starts to sound a bit strange. But with Lou's lyrics you can actually read them out from a page like a brilliant poem 	
10:29:28 Music In: Andy's Chest  
10:29:50 Archive In: Andy and his clan @  Contemporary films
10:29:54 Caption In: Andy's Chest
10:29:57 Caption Out
10:30:05 Archive Out		
10:30:07 Caption In; David Fricke, Editor Rolling Stones Magazine
10:30:11 Caption Out

10:30:19 Still In: New York Post
10:30:22 Still Out/In: New York Times
10:30:26 Still Out
10;30:27 Music Out	DAVID FRICKE:
One of the things I really like about Andy's chest is that it is kind of a pretty song, but its also, he's got this undercurrent of well, certainly violence, you know, it makes reference to the attempt on Warhols life by Valerie Solanis who had been sort of a member, or hang around at the factory, and had designed this feminist manifesto thing, and she had decided that Warhol had to go. 	
10:30:32 Caption In: Gerard Malanga, Warhol Associate
10:30:37 Caption Out	GERARD MALANGA:
Andy had, he was given a script by this woman Valerie Solanis and because Andy didn’t really read it, he put it, kind of tossed it in a pile somewhere and she psychologically felt that he was controlling her life by not returning the script, and the only way she could free herself psychologically was to symbolically shoot him, maybe not intending to try and kill him, but nevertheless, she wounded him seriously. So… it span out of control as it were.  	
	LOU REED:
I'm not going to explain it to you, what I thought about it Andy being shot. It’s a love song	
10:31:11 Music In: Andy's Chest (read)
10:31:45 Music Out		
10:31:53 Caption In: Mick Rock, Photographer
10:31:57 Caption Out	MICK ROCK:
He is a poet. And of course he more than anybody else is identified with one particular city. I mean, I suppose the Beatles were identified with Liverpool, but the Beatles became very universal very quickly, but Lou is always identified with New York. 	
10:32:09 Music In: Hanging Around		

10:32:20 Music Out	GERARD MALANGA:
There's a very urban experience relating  to Lou's work . It would be very fun to listen to a record, a song of Lou's where he's talking about you know, flowing rivers, and mountains and trees…Lou's work is very much tied into kind of a New York urban experience as it were.	
10:32:35 Caption In: Ken Scott, Engineer
10:32:40 Caption Out	KEN SCOTT:
This is New York Telephone Conversation. This is the shortest track on the album. The other thing that makes it different from any of the others  is that everything is recorded 16 track. And this one we only used 7 tracks of the 16 and we had room to make it much bigger but it wasn't needed, its just bass, cymbals and piano and Lou and David doing vocals. And it was all cut live. 	
10:33:03 Music In: New York Telephone Conversation 		
	KEN SCOTT:
This is Lou's solo	
	KEN SCOTT:
OK - David	
10:33:50 Caption In: New York Telephone Conversation
10:33:55 Caption Out	KEN SCOTT:
Together	
10:33:51 Archive In: Andy and his clan © Contemporary Films
10:34:01 Archive Out		
10:34:04 Archive In: Andy and his clan ©  Contemporary Films
10:34:05 Caption In: Max's Kansas City
10:34:09 Caption out

10:34:21 Archive Out
10:34:32 Music Out	LENNY KAYE:
It’s a great little social portrait of who in retrospect was a very small scene, gathered around a club room on Park Avenue South, and some strange characters that found themselves, found their sense of being. 	
	LENNY KAYE:
I think people always think that artists that are singing about themselves, that there is an element of autobiography, even if the artist thinks they are creating a character, but the artist is creating a character from what they know, so I believe there is  that element of personality. People believed Lou, and I think to carry off those songs, Lou had to believe. 	
	LOU REED:
I don’t want to go into extreme to say, is Shakespeare really Hamlet, or is he really MacBeth, or is he King Lear, or is he this or is he that, you know,..Not…in any stretch of imagination am I comparing myself, I'm just giving a ludicrous example to bring it back to earth a bit. But there's always parts of your  own experience and your own personality in whatever you are writing about.	
10:35:32 Caption In: Mick Rock, Photographer
10:35:36 Caption Out

10:35:56 Still In: Transformer Album Cover - the original photo
10:36:00 Still Out/In: Albums Cover
10:36:06 Still Out	MICK ROCK:
Lou is guilty of expressing a certain area concerning sex, deviant sex and drugs in such a brilliant way that it did affect a lot of what came after and it did form peoples images of him and in a way that is what I shot when I was shooting the Transformer albums cover. I was shooting that, I wasn't really shooting the love songs. So I only shot what was presented to me. It wasn’t really my suggestion, the way he did it.   	
10:36:06 Still In: Angie Bowie, Iggy Pop, Trevor Boulder, Sue Fussey and Lou Reed 
10:36:11 Still Out/ Still In: Lou, front view rhinestone jacket, arm on neck 10:36:22 Still Out/Still In: Lou, Side view, white make-up with guitar

10:36:31 Still out	LOU REED:
David's ex-wife took me out, you know, 'lets dress you, you can't wear this', Lets get you something'. And there I was in rhinestones, I was glorious, I love the pictures from the album.  The make-up I put on was this stuff from Japan that took all the colour out of your face, 'cause they were always saying pale new Yorkers and that’s  how I tried to make it, I got one one step further, no blood.	
	MICK ROCK:
Originally, the concept for the back of the cover was going to be the front	
10:36:37 Still In: Transformer album cover - back 

10:36:48 Still Out	LOU REED:
That was my friend Ernie, and you know, we just put a banana down there. If he was really like that, we'd all been too jealous to let him be out on the back, we'd just say 'go away', we don’t even want to be near you. 	
	MICK ROCK:
A lot of people would ask me if they were both Lou Reed, I remember at one point.	

10:37:08 Still In: Transformer album cover - back

10:37:15 Still Out	LOU REED:
That I have heard about, like, you know, people asking about am I the woman, am I the woman and the guy. Its… It's really funny.
What was really great, was that they could think that I could be both of them That was really great. My god, I could have had a whole new career. 	

	MICK ROCK:
In certain ways you could argue it is the definitive album of that time, although you could also argue for Ziggy Stardust. Well, maybe those two, Ziggy and the Transformer. But the Transformer was the perfect reflection of that summer. And in many ways, I have discovered that the Transformer album cover represents the decadent Glam thing probably more than any other image. 	
10:37:43 Still In - Transformer Album cover front & back
10:37:43 Music In: Make-Up
10:37:49 Caption In: Make-Up
10:37:53 Caption Out		

10:37:55 Still Out	DAVID FRICKE:
Glam and glitter-rock in 1972 and 73 for most kids were about dressing up, and it was about sexual identity at an age when you are still forming your sexual identity. 	
	LOU REED:
There was this whole Glam thing going on, so I just put myself on that head. Its not like I had to go very far to do it, you know, I had about a thousand selves running around. It's easy.	
	DAVID FRICKE:
The thing about the Transformer and the best of Reeds records and songs is that they are not didactic. He is not telling you what is right and what is wrong, he is telling you what is, and he is doing it in ways that make you think 	
10:38:43 Archive In: Pop 2 © INA 
10:39:04 Archive Out/Music Out		
10:39:07 Caption In: Timothy Greenfield-Sanders, Biographer
10:39:12 Caption Out	TIMOTHY GREENFIELD-SANDERS:
I listen to these songs and I can't believe how perfect they feel today. I mean, Perfect Day is a great example, it was number 1 in England 25 years after it was written. It's a phenomenal song.	
10:39:19 Archive In: Perfect Day © BBC
10:39:19 Music In: Perfect Day 
10:39:37 Archive Out		
10:39:39 Caption In: Herbie Flowers, session Musician
10:39:43 Caption Out	HERBIE FLOWERS:
I think its just sublime. Lou wrote the piece, and somebody else's extended it. A bit like Shakespeare isn't it. I mean, if the stuff is good you can do anything. 	
10:39:44 Archive In: Perfect Day © BBC
10:40:25 Archive Out/Music Out		
10:40:28 Caption In: Dave Stewart, Musician
10:40:32 Caption Out

	DAVE STEWART:
I think there is a whole confusion you know, people talking about singers and who is a great singer and who is  a great guitar player and they confuse it with maybe some kind of Olympic feat of singing vocal acrobatics and guitarist playing a million notes a second. But that’s got nothing to do with it really, I mean, it’s the same in painting you know, if there was someone who could paint the back garden scene absolutely perfectly, and somebody could come along and do two brush stokes and to me the more refined you are, the song writing gets, the less brush stokes you are using. 	
10:41:00 Music In: Perfect Day 
10:41:25 Music Out		
	LOU REED:
It’s a fantasy, Perfect Day, the whole thing is about, not just 'you're going to reap just what you sow', which is a cliché, but the line before it, 'thought I were someone good', I like that idea.	
10:41:48 Music In: Perfect Day 		
 	DAVE STEWART:
When you start to understand songs like Perfect Day, and you know the feeling that comes from that song, which is like steeped in some kind of drug crazed, sort of scary dark feeling with this beautiful melody going on. I think he was one of the writers that taught me about light and shade and darkness, you know, and taking all of that sort of music and turned it into sort of a Disneyland and diffusing it and making it into some kind of black land meets Disneyland or whatever, so you'll always have these weird sort of feeling in music 'it could go really scary now', or it could suddenly become alright.	
	LOU REED:
Every song I've ever written in my life, I tried to write emotionally. And all the songs were a close up of emotions and they are always about conflict.

10:43:02 Archive In: Dancing in The Streets ©  BBC 
10:43:04 Caption In; Mick Ronson, Producer
10:43:08 Caption Out

10:43:30 Archive Out 	MICK RONSON:
Lou used to say some funny things I know…Can't remember quite what he used to say to me, but….Something like can we make it a little bit more grey. I mean, then, to me, I was like 'what is he talking about'? I guess he was just trying to explain things in  a more artistic way or something, and that kind of was going over my head a bit.	
	LOU REED:
That’s beautiful, wow, 
Boy, Ronson is good, wow….	
	LOU REED:
Isn't that amazing, just like that…	
	LOU REED:
See I think sometimes on really good arrangements, parts, you don't really need a vocal. 	
10:44:26 Music out		
10:44:32 Caption In: David Fricke, editor Rolling Stone Magazine
10:44:37 Caption Out	DAVID FRICKE:
He always said that he made records when he was in the Velvets and later on his idea of a record was something in which he was talking directly to you. You were in one  room, sitting across from each other, and he was singing to you, and you can hear that in the character in his voice.	
10:44:48 Caption In: Tony Stewart, Journalist 
10:44:52 Caption Out
	TONY STEWART:
Everybody can talk about tracks on transformer, and you go Vicious, Perfect Day, Walk on the Wild Side, make-up, Andy's Chest, but Goodnight Ladies I think is the best song on the album. Its just this fantastic number, which is like, it sounds like a load of guys clowning about	
	LOU REED:
I don’t know whose idea it was, let's bring in an ompa band. Which is not what they call it in London, whatever you call it, and David went and got one, or someone went and got one,
	
	KEN SCOTT:
And this is what they sounded like.	
10:45:25 Music In: Goodnight Ladies - 
10:45:26 Caption In: Goodnight Ladies
10:45:30 Caption Out	

	
	KEN SCOTT:
This one features Herbie playing tuba.	
	HERBIE FLOWERS:
I think the last track that was recorded was Goodnight Ladies, and by them we were had ran out of steam. And it felt like, well here's a song its got a steady note to it, and I thought maybe it should just have ..can I use tuba on it , and can I phone up this…trumpet, and have  a Dixieland band	
 	HERBIE FLOWERS:	
	With the absurd mixture of people, the music were always going to be a bit off the wall. And no way would it have been a copy of the Velvet Underground, because Lou wouldn’t have wanted that, I had never heard of them, and just seemed a good idea at the time. 	

10:47:15 Still In: Lou w/ sunglasses and scarf
10:47:24 Still Out/Still In: NME Charts 
10:47:31: Still Out/Still In: NME 

10:47:34 Still out	TONY STEWART:
And then you kind of think about the imagery. Heres David Bowie you know, on the production desk with Mick Ronson, you know, these rock gods, and theres this bunch of wiley old session musicians with a brass band  doing this bizarre song, which I just think is absolutely fantastic, and then you listen to the lyrics and it is about a guy who's lost in love again, and it’s the forlornness of that. That’s Lou Reed, it's a Lou Reed song.	
	LENNY KAYE:
People wanted to hear Transformer, they wanted to hear Walk On The Wild Side, and because there was enough of them, it became a hit, the most unlikely hits of that year and probably of any other year.	
	DAVID FRICKE:
The amount of time that went from Lou's darkest nights to suddenly him being the star he could never be in the Velvets was less than a year. It's really quite extraordinary when you think about it.	
	TONY STEWART:
Transformer was just a massive album	
	DAVE STEWART:
I actually think it's great album, I'm not so sure that Lou thinks it a particularly, his favourite album or whatever	
	MICK ROCK:
I think part of him felt to a degree that maybe there was psychologically a little compromise with Transformer. But, you know, he's wrong, it’s a brilliant album and the fact that it was commercially successful, well he just got lucky with that. 	
	LOU REED;
I mean it's just an album. They are just songs, it's just an album. You know, you do an album, and then you have the rest of your life. 	
10:48:35 CREDIT ROLL

10:49:30 Music Out 	LOU REED:
You guys were pure pleasure, I must say.