11. “Heroes”

“Heroes is David Bowie’s 12th studio album, originally released on 14th October 1977.

By mid 1977, David Bowie was beginning to sort his life out. After his drug-induced nightmarish 1975-76 existence in Los Angeles, he managed to escape with his buddy-in-crime Iggy Pop to Europe, where he recorded his pioneering “Low” album. He then battled both his record company RCA and not one but two ex-managers to get the album actually released, after they all believed the album to be some weird, noncommercial joke designed to intentionally ruin his career. He was even starting to effectively manage his quickly disintegrating marriage with his then wife Angie Bowie.

Life was indeed finally beginning to pick up.

Having moved with Iggy Pop into a small apartment in the district of Schöneberg in West Berlin, he was ready to record a new album. “Low” released at the start of 1977 was a huge departure for Bowie, an experimental album featuring ambient like instrumental pieces, with few vocals and on side 2 in particular, very little in relation to conventional “rock ‘n’ roll music. Inspired by many of the current German Krautrock bands such as Tangerine Dream, Neu! and Kraftwerk, Bowie teamed up with Brian Eno to record one of the most influential albums of all time, a blueprint of music that would dominate the charts for the next 10 years.

Having recorded both “Low” and then “The Idiot” for Iggy Pop in the past few months, Bowie was ready to hit the studio again. But this time, rather than feeling “Low”, Bowie now felt like a “Hero” and the new music would certainly reflect this increase in optimism. Teaming up again with Tony Visconti as producer, Brian Eno as musical strategist and his rhythm section of Carlos Alomar, George Murray and Dennis Davis, Bowie added the guitar great Robert Fripp of King Crimson fame to bring an extra dimension to the overall sound.

Recorded at the Hansa Tonsudio in Berlin, it’s actually the only album from the so-called “Berlin Trilogy” to be fully recorded in Berlin. And what a truly wonderful album it is too.

Setting the mood for much of the album, the opener “Beauty and the Beast” has Bowie showing off his updated “histrionics” style of singing, not really heard since the “Ziggy Stardust” album.  With a slow building intro, Bowie enters the scene with a growl and kicks off this jumpy, catchy number with a powerful vocal performance. The music here is still very “electronic” in form, but with the rhythm section very prominent, it’s a return to a more rock ‘n’ roll sound (on side 1 at least). The meaning of the lyrics is typically obscure, with some suggesting it’s perhaps a reference to Bowie himself during his cocaine fuelled mood swings. Released as the second single off the album, it just made it into the UK top 40 but failed to chart completely in the US.

 

 

Joe the Lion” is based on the adventures of Chris Burden, who famously nailed himself to the roof of a Volkswagen during a piece of “performance art” (a theme that Bowie would explore further with Eno on the “Outside” album). With the music dominated by Robert Fripp’s guitar, Bowie is again in fine vocal form, with the line “It’s Monday” sung to utter perfection to describe most people’s feeling on returning to work on a Monday. You can put this track down as yet another of Bowie’s hidden gems.

The centrepiece of the album is undoubtedly the title track “Heroes”. Here in it’s full 6 minute length glory, it is one of THE best Bowie anthems, period. It’s one of those songs I have never, ever tired of hearing and sounds as fresh, modern and brilliant now as it did over 40 years ago. I can still recall the excitement when I first heard the full length version in my bedroom in Manchester all those many years ago. It’s hard to break this classic track down but the driving energy here is hypnotic, Robert Fripp’s various layered guitar parts are simply stunning, the build up in tempo is just gorgeous, while Bowie’s vocal performance is one of his very very best. It’s just a wonderful song on the triumph of love over adversity and how we can all indeed be heroes by just being ourselves.

Proving Bowie was serious about reconnecting himself with Europe, he recorded both an excellent German and (less convincing) French version of this song to be released as appropriate in the local European market.

Remarkably, the single was a relative flop at the time, only reaching 24 in the UK and not breaking the top 100 in the US. However, its reputation has only grown over time, having been covered by numerous artists over the years and often listed in the greatest songs lists. You can watch the video here.

In 1980, a special single was released in Australia that featured all 3 language versions of “Heroes” as well as the B-Side “V-2 Schneider”.

 

 

 

 

Sons of the Silent Age” is a wonderful piece, evoking images simultaneously of a by-gone Hollywood era but haunted by some of the other worldly demons from The Man Who Sold The World/Hunky Dory era. The sax work here is beautiful unlike some of the weirdness to come but the highlight is the wonderful chorus featuring some of Bowie’s best ever vocal work. A Bowie classic that got an unlikely resurrection when performed live during the “Glass Spiders” tour in 1987.

Blackout” which closes side 1 is another intense classic. In part documenting an actual blackout Bowie had when he was rushed to hospital earlier in the year in Berlin, it also references power “blackouts”, giving the track a double meaning. Dennis Davis’s drum work, superb throughout the album, is particularly good here and drives along the piece. The “kiss you in the rain” refrain is just great as are indeed the little bits of humour in how Bowie delivers some of the lines, such as when he sings “get me the Doctors, get off the streets, get me on my feet” which are brilliant. Another song I just adore from the album.

Side 2 opens with “V-2 Schneider“, the first of the (mainly) instrumentals that features on the second half of the album, copying the format from the “Low” album. This is the most “rock-like”, conventional instrumental piece on the album, with the rhythm section driving along a groovy beat, before the out of sync sax jumps in to create a jarring feel that sounds fantastic but not quite right all at the same time. An obvious nod to Florian Schneider from Kraftwerk and the infamous German V-2 rockets from WWII, the only lyrics on the track is “V-2 Schneider” sung in ever more clear fashion as the track progresses. This is perhaps my favourite instrumental piece from the whole Berlin era period. It featured on the B-side of the “Heroes” single.

Sense of Doubt” is another matter entirely, the first of the three really “out there” instrumentals” that is clearly heavily influenced by Brian Eno. Based a 4 note refrain, it’s the perfect soundtrack to anyone interested in slowly lifting up a recently dug up coffin lid. Full of bizarre soundscapes, it’s a truly eerie piece that does indeed make one have a severe sense of doubt. If this is rock ‘n’ roll, then it’s an entirely new, original brand. The B-side to the “Beauty and the Beast” single, I would doubt make DJs would have played this in a disco…

Moss Garden” then seamlessly joins the party, a Japanese influenced piece that features Bowie plucking on a Koto, with washes of sounds in the background. As Bowie sings on “Blackout”, he’s indeed very influenced by Japan and this track perfectly encapsulates the dreamy feeling of sitting quietly in a moss garden somewhere in rural Japan.

The third off-centre instrumental is “Neuköln“, the district in Berlin where Bowie and Iggy Pop lived during the making of the album. Featuring Bowie on sax, if you’ve ever wondered what a sax would sound like if you slowly strangled it, wonder no more and simply listen to this track. Again, one has an uneasy sense as you listen to the various soundscapes, but the whole piece ties in together so perfectly. That someone of Bowie’s statue would consider recording ambient music so clearly non-commercial and avant garde was a huge risk, but one that really paid off and established Bowie as a musical pioneer.

Just when you’re thinking what on earth could come next, Bowie surprises with “The Secret Life of Arabia“, an absolute gem of a track and a return to the Side 1 type material. Except this is more bouncy and catchy than anything on Side 1, with the possible exception of the title track. The rhythm section are just brilliant here. This time evoking images of Laurence of Arabia and hot sandy deserts, Bowie again sings with tongue firmly in cheek in another classic vocal performance. I simply LOVE this track and is perhaps the hidden gem in all his Berlin-era work. It’s the perfect way to end a perfect album that is also a rather nice segue to the next album, “Lodger” that features a number of romantic travel influenced tracks.

The album features one of the most iconic of Bowie’s album covers, a leather clad Bowie photographed by Masayoshi Sukita as he posed in the same manner as the character in the painting Roquairol by German artist Erich Heckel.

At the time of the album release, RCA marketing come up with the prefect slogan: “There’s old wave, there’s new wave and there’s David Bowie“. Which perfectly sums up the album (and the preceding “Low”), as being something that hadn’t really been commercially heard before, but would map out popular music for the next 10 years and beyond. It’s hard to overstate the incredible influence “Heroes” has had on so many future bands.

In short, “Heroes” was a triumph of an album, a true masterpiece which at the time had much critical acclaim. Both of the two main UK music papers (Melody Maker and NME) named the album as their album of the year, although commercially it had mixed success, reaching No. 3 in the UK charts, but only No. 35 in the US.

As part of the excellent Ryko 1991 CD re-release, it included the following previously unreleased track from the Berlin-era period:

Abdulmajid“, is a nice enough instrumental, featuring the rhythm section with a cool synthesizer based melody. But it certainly doesn’t have the wow factor of the album proper instrumentals and is a nice bonus rather a must have addition to the album. The title is clearly from the time of the release, being Bowie’s newly recent wife’s name.

Bowie would spend much of 1978 touring the Low/Heroes albums (with a good dose of Ziggy Stardust thrown in) as part of the Isolar II world tour, the largest Bowie tour to date that finally included Australia for the first time.

The resultant “Stage” live album was another way to enjoy several of the track off “Heroes”, although the album was criticised (somewhat unfairly) as sounding almost identical to the actual album versions with some background crowd noise due to the superb musicianship on display. The 5.1 remix released on DVD in 2005 is well worth a listen and adds another dimension to the tracks.

 

 

In 2018, another live album from the Isolar II tour was released, “Welcome to the Blackout“. Recorded in London, it’s another fine album that captures Bowie at his classic best with “Beauty and the Beast”, “Heroes”, “Blackout” and “Sense of Doubt” all sounding just perfect.

 

Although it didn’t sell as well as previous outputs, Bowie was on the crest of an artistic high with the release of “Heroes”. Bowie would go on to record one more album with Brian Eno to complete the so-called Berlin Trilogy, the superb and criminally under-rated “Lodger“. But that’s a story for another day…

 

Best Tracks: “Heroes”, V-2 Schneider, The Secret Life of Arabia

18. Hours

hours

Hours” is David Bowie’s 24th studio album and was originally released on 21st September 1999.

This was the last Bowie album of the 1990’s and continued his trend of releasing throughout the decade a number of truly excellent, generally under-rated works. “Hours” is another hidden gem in the Bowie cannon which is full of wonderful, thought-provoking material, well worth a visit if you haven’t had the pleasure yet of listening to it.

Co-written with Reeves Gabrels, his ex-Tin Machine comrade and collaborator throughout much of the 1990’s, the album started life as the soundtrack to the computer game “Omikron: The Nomad Soul“. For a computing geek, I never really got much into computer games but I remember at the time getting a copy of Omikron and trying to get it to run on my then Windows NT laptop. It was a really fun game where you interact in a complex world while taking over various characters, fun that is until I got stuck trying to get past a heap of guards near the end before finally giving up. The game featured much of the music from what would eventually be the “Hours” album, including a few “live” performances by “The Dreamers” (a band based on Bowie, Gabrels and his then live bass player, Gail Ann Dorsey), playing in various dodgy bars throughout Omikron.

Omikron

A computer game soundtrack by the great David Bowie sounds pretty remarkable, that is until you realise just how much interest Bowie had in computing, the internet and with all the possibilities that the web had to offer. It’s easy to forget that Bowie was one of the internet pioneers, being one of the first to fully realise how downloading music would be the future, one of the first to have a full blown, interactive internet site and ISP services, one of the first of offer a commercial song “Telling Lies” as a download and one of the first to offer an entire album as a downloadable option here with the “Hours” album. David Bowie was awarded The Webby Lifetime Achievement Award in 2007 for his pioneering contributions to music within the internet.

With the end of yet another decade fast approaching and with Bowie now in his 50’s, “Hours” is one of the most nostalgic, backwards yearning albums of his career. I distinctly remember at the time thinking that Bowie was actually getting “older”, really for the first time. He looked a little older, especially in this videos from the album, sounded a little older and indeed touched on his past in a way that an older person would reminisce of days gone by. This is all the more enhanced by the album cover, that has a (possibly dying) Bowie being comforted by a younger looking “angelic” Bowie.

The music touches on various previous parts of Bowie’s career, although in typical Bowie style it still sounded fresh and new. At the time, some critics mentioned it being a relative to the “Hunky Dory” album, but it’s not really a view I share. I’ve always thought there are references here to his glam period, his Berlin trilogy and indeed to his more recent material. But it most certainly didn’t sound too much like his previous drum ‘n’ bass frantic “Earthling” album, this generally being much mellower and quieter in scope.

The album kicks off with “Thursday’s Child” which was also the lead off single from the album (in most territories). It’s one of those quieter, dreamy songs so typical of the album, which has a rather lovely melodic feel. Bowie sings in his best “fragile” voice with a gorgeous chorus that just takes you away. A truly beautiful song. The video features Bowie staring at himself in the mirror and thinking when he was with a younger version of his partner. Music Video.  As with many releases at the time, there were a number of different versions of the CD single, which in turn featured different B-Sides to collect. It’s an expensive business being a Bowie fan, I’ll cover the B-Sides later on.

thursdays child

Something In The Air” is another cracking song, this time featuring a much more “electronic” sound, full of weird little noises and with a somewhat distorted Bowie lead vocal. As with much of the album, Bowie seems to feel that things are no longer what they once were and there’s a certain unease with what’s going on here. This song is probably the closest on this album to what he had previously recorded on the “1. Outside” and “Earthing” albums. Gabrel’s lead guitar and the strange sounds he can get out of it is on display the most here.

Survive” is another lovely song, with another sad, vulnerable vocal on which Bowie says he’ll survive but sounding as if he’ll do anything but now that a love is lost. Gabrel’s guitar line here really is excellent and the overall track is just sublime. For me, it makes me think just a little of the “Station To Station” album. This was the seond single off the album and featured a clever video of Bowie floating around the kitchen table. Music Video.

survive

If I’m dreaming My Life” is perhaps my favourite track on the album, although there are several possible candidates. A long brooding piece, it starts typically slow before spending up before each catchy, rhythmic alternate verse, with Bowie wondering if his life and that girl of his was all just one long dream. Gabrels features predominantly throughout with various guitar flourishes, including during the long coda section at the end. At 7 plus minutes, it’s one of the longer pieces Bowie has recorded and although no “Station To Station”, it’s still an excellent track. Bowie performed a nice version of this on his appearance on “VH1 Storytellers” (more on this later).

Seven” on the other hand is one of the weaker moments on the album. Released as the third and last single off the album (with again with so many different versions I almost lost count), it’s a rather basic acoustic track with a slide guitar line that’s all very nice but just doesn’t do it for me. “Seven” was also performed as part of Bowie’s “VH1 Storytellers” appearance. Video link to Seven on Storytellers.

Seven BlueSeven Purpleseven green

What’s Really Happening?” has an interesting story. As a promotion on “BowieNet”, Bowie’s internet fan club,  a competition was run for some lucky bugger to write lyrics for a new song that would appear on this album. Out of 20,000+ entrants, the winner was Alex Grant and the result was this track. As some consolation for all those who missed out, the recording of the track was webcast “live” on the internet for BowieNet members. The lyrics although not “Lennon-esque” (or Bowie level quality for that matter) do suit the tone of the album and I’ve always enjoyed the track with its fuzzy guitars and electronic rumblings.

The rocker of the album is definitely “The Pretty Things Are Going To Hell” and is a definite highlight. With little glimpses back to his Glam-Rock era and with Gabrels sounding not unlike Mick Ronson, Bowie is in vintage form here and the track has a rare swagger not found elsewhere on the album. Although Grabels guitar is most predominant, the excellent bass- line by Mark Plati deserves credit and helps to drive the track along. The lead-off single here in Australia, a remixed version of the song featured on the “Stigmata” film soundtrack. Video Performance.

pretty things are going to hell

New Angels Of Promise” is the song I most associate with the Omikron computer game and it’s the song featured at the very start. I’ve always loved this song as it has much of the ingredients of a classic Bowie track, with a wonderful mix of weird electronic instrumentation, a thumping rhythm and that somewhat distorted Bowie vocal delivery. With a hint towards the first side of the “Heroes” album, if you enjoy 70’s Bowie you’ll very likely enjoy this.

Brilliant Adventure” is even more of a hint towards the “Heroes” album, this time the B-side with this being the only instrumental on the album. With a strong Japanese vibe thanks to the featured koto, it echoes back to both “Moss Garden” and “Crystal Japan” from his past. Considering the strong influence and background of the “Omikron” soundtrack, it’s perhaps a little surprising that there weren’t more instrumentals featured on the album. Personally I find this track a little ho-hum and not as interesting as the aforementioned influences.

The album proper closes with the excellent “The Dreamers“, an atmospheric piece and one of my favourite Bowie vocals on the album. “The Dreamers” is the name of the fantasy Bowie band in the Omikron computer game, although the song itself is a somewhat obscure piece detailing dark dreams and shadows. Bowie’s vocals are again slightly distorted but he still hits the big notes impressively. A very satisfactory end to an overall highly satisfactory album.

Although the album was a typical hit in the UK, reaching No. 5 in the charts, it was however the first non-Tin Machine (or “Buddha of Suburbia” soundtrack album) not to make the Top 40 in the US since way back to the Ziggy album, only reaching a disappointing 47. Which is a pity, because this really is a wonderful album, that had a very modern feel for 1999 and I think would actually appeal to many in the US market.

At the time of release, as well as the standard packaging, a limited edition version featuring a lenticular cover kept us Bowie collectors happy. I would though recommend trying to get hold of the “David Bowie” box set which featured all the albums released between “1. Outside” and “Heathen”, each with a 2 CD package featuring various re-mixes, B-Sides and bonus tracks from each album. With regard “Hours”, this included the other four original tracks that were released as B-sides on various versions of the “Thursday’s Child” singles:

We All Go Through” has a Tin Machine feel during one of their quieter moments, but overall the track is kinda bland and forgettable. In other words, a perfect B-Side track.

1917” on the other hand is brilliant, one of those hidden Bowie gems and my favourite piece from the whole “Hours” sessions. A thoroughly weird little electronic-based instrumental, it reminds me just a little of the A-Side of the “Low” album, especially with that half finished feeling in how the track comes and then quickly disappears again.

We Shall Go To Town” is a somewhat sombre piece, with an almost tortured vocal by Bowie who sounds positively in pain throughout. Gabrel’s guitar solo sounds akin to him trying to throttle the thing, not unlike Bowie and his saxophone throttling Neukoln piece from “Heroes”. Although I might not have sold this too well, it’s actually a great track and a million miles from his 80’s stuff.

No-One Calls” is another down beat track with a somewhat hypnotic, repetitive, electronic/keyboard based arrangement, with Bowie singing in his best dour voice. Not a classic perhaps, but again perfect B-side fodder.

Soon after the release of “Hours”, Bowie and Gabrels went their separate ways, ending a 10 years working relationship and the end of a productive, generally underrated period of Bowie’s career. Their last performance together was on 23 August 1999 when Bowie performed live on VH1 Storytellers which featured “Thursday’s Child”, “Seven”, Survive” and “If I’m Dreaming My Life” from “Hours” among other classics from Bowie’s career. An album/DVD of the show was released some 10 years later on 6 July 2009.

storytellers

Bowie performed a very small low-key tour of just 8 live shows to promote the album. Gabrels was replaced on guitar by Page Hamilton with the tour setlist usually including “Thursday’s Child”, “Survive”, “Something In The Air”, “Seven” and “The Pretty Things Are Going To Hell” from the album.

With “Hours” we close off the 90’s and arguably Bowie’s most underrated period of his career. Bowie would move on into the new millennium and create two more high quality albums before his long 10 year break following his heart attack. But that’s a story for another day.

Best Tracks: Thursday’s Child, If I’m Dreaming My Life, 1917