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Lou Reed had been out of the Velvet Underground for about two years, and his first solo album had tanked, but people like David Bowie still believed in him, and brought him to London to record his second album. One of the songs he recorded during the ten days they spent on Transformer was a song he’d been noodling with for about a year. It started out as part of the score for a show that never materialized, but over time it morphed into a tribute to several of Andy Warhol’s “Superstars” at his studio-cum-crash pad, The Factory. 

Candy Darling
Holly Woodlawn

Jackie Curtis

Joe D’Alessandro (left) in a still from the film Flesh that was cropped to create The Smiths’ first album sleeve.

The song got a remarkable amount of airplay despite its subject matter (and because of how well it was coded), and propelled Transformer into the Billboard Top 30, cementing its place as a touchstone of the Glam Rock genre of music.

Incidentally, the album’s cover was photographed by Mick Rock, who’d accidentally over-exposed the image in the darkroom, but he liked the way it came out and submitted it as a possible cover anyway.

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