Chords for Lou Reed & David Bowie 'Transformer'.

_ _ _ _ _ _ _ _
Here's New York and South Missouri. _ _
_ _ _ _ _ _ _ _
[G] _ _ _ _ [D] _ _ _ _
[G] _ _ [Gm] _ _ [D] _ _ _
That's the [G] first time we've actually worked like that together [D] since the time that we made [G] Transformer.
Little [D] Florida man. _
[G] Little, little, little [D] Florida man. _ _ _
[G] _ _ _ _ [D] Hey white boy, [G] who wants to do in [D] our town? _ _
[G] _ We've seen all the women [D] around.
Hey white boy, [G] you just know women [D] around. _ _
[G] _ _ _ _ [D] Oh, love me sir, [F#] it's the last thing on my mind.
[G] I'm just looking [A#] for a very good friend of [D] mine. _ _ _
[G] _ _ Oh, [D] there. _ _
[G] _ _ _ _ [D] _ _ _ _
[G] Our then manager [D] brought back the Velvet's [G] very first album in [D] 1965-ish.
And he said, well, I don't know why Warhol is doing music.
This music is as bad as his painting.
_ I'm going to like this.
So _ _ I'd never heard anything quite like it.
It was a revolution to me.
Bowie wanted [F#] to meet Lou Reed, who had been one of [G] his heroes.
Lou is sort of on the brink of his solo [D] career.
And it was a transition into just Lou Reed, rock performer and songwriter.
We were [D] on the same label.
[Gm] And I really [E] liked his record.
[N] _ He liked some of mine.
_ _ _ [D#] _ So we decided to work together.
[F] The thing is with Lou, he was so _ _ generous to work with.
I mean, I was petrified _ that he said, yes, he would like to sort of work with me
in the producer capacity because I had so many ideas.
And I felt so _ intimidated by [A#m] my knowledge of the work that he'd already done.
I mean, even though there was sort of only that much [D#] time between us,
it seemed like Lou had [G#] this great legacy of work, which indeed [D#] he did have.
Making a [F#] record like Transformer was Bowie's way of not only bringing Lou
to his audience but also showing David's [C] audience, check this out,
this is [F] some of the source, this is a guy that you should be listening to.
Why?
[C#] Because I've learned a lot from him.
I really wanted it to work for him and be a memorable album that people wouldn't forget.
Walk on the Wild Side was a [C] classic, a wonderful song, absolutely brilliant. _
_ _ _ _ [Dm] He's been a glimpse [C] of a darker, _ wilder life [F] in which we can all walk, if you like.
And that's very attractive.
That's very, very attractive.
I love the song Walk on the [Cm] Wild Side, but I'd hear [C] it on the radio all the time.
And you'd hear it in [F] restaurants and bars and [C] bus stations, wherever.
And I'd wonder, do any of these [F] people realize what this song is talking about?
Who's being [C] talked about and what's going on?
_ [Dm] _ _ They were the [C] ragtag queens of Max's [F] Kansas City.
And they've got very little [C] _ _ in return for [F] all of the groundbreaking things that they did.
And to be heralded [Dm] by someone like Lou was lovingly compassionate without [F] being _ syrupy. _
[C] _ _ _ _ _ [F] _ _ _
_ _ [C] _ _ _ _ _ [F] _
_ _ _ _ [C] _ _ [D] _ _
_ [F] _ _ [D] _ _ [C] _ _ _
_ _ [Dm] _ I [G#m] plucked my eyebrows, I shaved, I should, [G] yeah, I did.
I went _ _ from one end of the [Fm] country to the other.
I used to be a very beautiful [G] girl.
Very beautiful [F] girl.
_ _ [C] Said, hey honey, take a [F] walk on the wild side.
A walk on the wild [C] side.
I don't know of any other song where you have [F] a character per verse,
which I [C] thought was a really interesting thing to do.
One verse, [F] one character.
The second verse, a new [C] character.
Third verse, another new character.
[Dm] You never wasted words.
Lou was always [C] very concise on them.
You have [A] those little snippets of [C] reality.
I mean, you know that there is a [F] Candie and you know there is a little Joe.
[C] _ _ _ _ [F] _ _ _ _
_ _ [G] Everybody had to pay.
[C] A [A] hustle _ _ [C] _ here, [D] a hustle [F] there.
New York City is [Bm] the place where they [C] said, hey Joe, take [Em] a walk on the wild side.
[Dm] They said, hey Joe, [G] take a walk on the wild side.
And the color [Dm] guards go, do, do, do, do, do, [C] do, do, do, do, [Dm] do, do, do, do, do, do, do, do, do, do, [C] _ _ do.
[F] _ _
_ _ [G] _ Then comes pancake factor number one.
_ Eyeliner, rose hips and lip gloss, such fun.
[Em] You're [Am] a slick [E] little [D] girl.
Glam rock.
I'm sorry you've lost me there.
[Am] Glam rock.
You're a slick [E] little girl.
[D] _ Yes, John Lennon called glam rock rock and roll with lipstick on.
[C] Glam rock, [G] androgyny, [Am] polymorphic [D] sex.
I was right in the [C] middle of her.
[G] Some say I could have been at the [A] head of the class.
Yeah, you should.
_ [G] _ _
You're hitting me with [D] flour.
Just [G] the verbal and [D] musical zeitgeist that Lou created,
[G] the [A] nature of his lyric [D] writing, that being hitherto [G] unknowing rocker.
He gave us [D] the environment in which to put our more [G] theatrical vision.
He [D] supplied us with the [G] street and the landscape, [D] and we peopled it.
[C] _ _
[G] _ _ _ [D] _ _ _ [C] _
[G] Lou was beyond glam, [D] if you really think about it.
His kind of glam was really [A] intense.
It had a serious [G] New York after [D] hours vibe.
You're not the way.
_ _ _ [A] You're not _ [G] the person I [D] want to stay.
[C] _ _
[D] _ _ _ _ [E] [F#m] And I see you [G] walking down the street.
I [F#m] step on your hands [G] and I feel your greed.
[E] You're [F#] not the kind of person [G] that I'm gonna [A] need.
Oh, [D] hey, you're so vicious.
[G] You could have made Transformer 2, [Bm] Transformer 3, walk on the wilder side,
walk on the not-so-wild side.
But instead, he elects to take one of the bravest steps
that [D] I've ever seen in pop music history [G] anyway.
And [Bm] he goes out to make a [D] seminal work
that digs deeper inside the soul of the artist
than [G] any other work that had been released,
[D] certainly into the American music [G] scene, _ [A] in 50 [D] years. _ _
I'm gonna [Em] stop _ _ wasting my time.
[G] _ _ _ _ _
_ _ _ _ [A] _ _ _ [D] _