Walk on the Wild Side (Lou Reed song)

"Walk on the Wild Side"
Single by Lou Reed
from the album Transformer
B-side "Perfect Day"
Released November 1972
Format Single
Genre Rock, Folk rock
Length

4:12

3:37 (edited version)
Label RCA
Writer(s) Lou Reed
Producer David Bowie (Executive)
Mick Ronson (Asst.)

"Walk on the Wild Side" is a Lou Reed song from his 1972 second solo album Transformer. It was produced by David Bowie. The song received wide radio coverage, despite its touching on taboo topics such as transsexuality, drugs, male prostitutes and oral sex. In the United States, RCA released an edited version of the song as a single which eliminated the song's reference to oral sex.

The lyrics tell of a series of individuals and their journeys to New York City, and refers to several of the regular "superstars" at Andy Warhol's New York studio, The Factory, namely Holly Woodlawn, Candy Darling, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to in the song by his nickname Sugar Plum Fairy). Candy Darling was also the subject of Reed's earlier song for The Velvet Underground, "Candy Says".

Contents

Musicians

The saxophone solo played over the fadeout of the song was performed by Ronnie Ross, who had previously taught David Bowie to play the saxophone during Bowie's childhood.

The backing vocals were sung by Thunderthighs, a girl group that included founder Dari Lallou, Karen Friedman, Jacki Campbell and Casey Synge.

Musical elements

The song is also noted for its twin interlocking bass lines played by Herbie Flowers on double bass and overdubbed fretless bass guitar. In an interview on BBC Radio 4 (Playing Second Fiddle, aired July 2005) Herbie Flowers claimed that the reason he came up with the twin bass line was that, as a session musician he would be paid double for playing two instruments on the same track.

The chord progression mostly consists of two alternating chords, C and F.

Inspiration

In the 2001 documentary Classic Albums: Lou Reed: Transformer, Reed says that it was Nelson Algren's 1956 novel, A Walk on the Wild Side, that was the launching off point for the song, even though the song grew to be inhabited by characters from his own life. As with several other Reed songs from the 1970s, the title may also be an allusion to an earlier song, in this case Mack David and Elmer Bernstein's song of the same name, the Academy Award-nominated title song of the 1962 film based on Algren's novel. During his performance of the song on his 1978 Live: Take No Prisoners album, Reed humorously explains the song's development from a request that he write the music for the never completed musical version of Algren's novel

Covers, samples and media references

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Recorded covers

Live covers

Parodies

Samples

Interpolations of the song

Film and television appearances

Other musical references to the song

References