12. David Bowie (aka Space Oddity)

space oddity album cover

David Bowie” is David Bowie’s 2nd studio album, originally released on 14th November 1969.

In many ways, the David Bowie story almost starts here. Almost.

By 1969, David Bowie had already been in the musical industry for five, very long, long years. But despite releasing numerous singles both with a number a different bands (The King Bees, The Manish Boys, The Lower Third) and as a solo artist and also releasing his first album “David Bowie” in 1967, all these releases had been commercial flops. He would have had more hot dinners than the number of records Bowie had sold collectively by 1969.

1968 had been the worst year yet, with no official releases at all and with Bowie seriously wondering if a career in music was really for him. Perhaps he would make a more successful Buddhist monk?

His then manager Kenneth Pitt still had enough confidence in his boy to invest in the making of an extended music film/video (released many years later as “Love You Till Tuesday“) that would showcase the musical talents of Bowie and could be used to promote his struggling star to be. Featuring mainly material from his first album “David Bowie“, they decided it needed something new and modern to just spruce it all up a bit.

After watching and being inspired by Stanley Kubrick’s sci-fi masterpiece, “A Space Odyssey”, Bowie wrote a new song called “Space Oddity” about a doomed astronaut, Major Tom. The strength of this song along with other demos he recorded around this time was enough for Bowie to be offered a new recording contract with Mercury Records.

Bowie was back in business.

Recorded between June-September 1969, his first album with Mercury Records called somewhat unimaginatively “David Bowie” (as was his previous album) was a really interesting affair. Sounding nothing like his previous Mod, come English Musical Hall numbers, the new album was a bizarre collection of songs that included everything from quaint folk numbers, romantic ballads, hippy anthems, hard rockers to futurist sci-fi art pieces. This was both the strength and weakness of the overall album, in that it features so many different styles and influences, but lacks the focus and single artistic direction of many of Bowie’s very best albums.

Bowie clearly wasn’t too sure of his place or destiny within the musical world (a fault that can be attributed somewhat to his then manager Kenneth Pitt who thought any career in “rock music” would be limited), but Bowie at the time liked The Beatles, Simon and Garfunkel and Bob Dylan and so these influences feature heavily in the album.

Recorded by a number of top British session musicians such as Tim Renwick, Rick Wakeman, Terry Cox and Herbie Flowers (and the odd Bowie mate such as Benny Marshall), it was also the first album to be produced by Tony Visconti, his to be long-time collaborator.

The album opens with the iconic “Space Oddity“. This is one of THE Bowie classics and an incredibly important song that features on/off for the rest of Bowie’s entire career. It’s a song that’s worthy of a book on its own, beginning life as mentioned earlier as the centrepiece of the “Love You Till Tuesday” promotional film. Starting with slowly building acoustic guitars and slow military style drum beat, it tells the tale of the doomed flight to the moon by Major Tom, who mysteriously loses contact with Ground Control. The production here is just fantastic, with weird electronic swells and soundscapes thanks to Bowie’s toy Stylophone and Rick Wakeman’s Mellotron, creating a musical atmosphere that still sounds fresh and futurist to this day. The taking off and finale sequences are just amazing, as are Bowie’s vocals as both Major Tom/Ground Control. It’s THE perfect pop song.

Remarkably, Tony Visconti wanted nothing to do with the song, thinking it a piece of commercial/popularist crap that was taking advantage of all the current interest in the upcoming Apollo moon landings. So it was actually Gus Dudgeon who would later make his name producing many of the Elton John classic albums who was drafted in to produce just the “Space Oddity” track. Gus, thank you, you did a superb job, sounding vastly superior to all the others versions and demos that were previously recorded.

“Space Oddity” was initially released as single way before the album on 11 July 1969 and it looked for a while that it would continue the run of commercial flops with minimal initial sales. But then the BBC decided to adopted it as the music for their coverage of the moon landing (clearly not listening too carefully to the lyrics) and it starting its journey up the UK charts, peaking at an impressive No. 5. Bowie, finally at long long last, had his first hit (although it only initially made No. 124 in the US).

Space oddity single cover

The story of “Space Oddity” however was far from over.

In 1970, Bowie won an Ivor Novello “Special Award For Originality” for “Space Oddity”, a notable achievement for the struggling Bowie.

After finally finding true fame and success with Ziggy Stardust, Bowie re-released “Space Oddity” in 1973 especially for the US market and recorded a new video at Trident Studios, directed by the legendary Mick Rock (Bowie’s “official” photographer during this period). “Space Oddity” finally became a US hit, reaching No. 15 on the charts. Watch the official Ziggy Stardust era video here.

space oddity us single cover

In 1975, “Space Oddity” was re-released as a single yet again, this time backed with “Changes” and a superb previously unreleased track from the Ziggy Stardust sessions “Velvet Goldmine“. It reached No. 1 in the UK, giving Bowie his first ever UK No. 1 single and at the time, a record of being the longest period for a single to reached No. 1, some 6 years after it was initially released.

space oddity 1975 single cover

In 1980, a stripped down new version of “Space Oddity” was released as the B-Side of the single “Alabama Song“. Finally, Tony Visconti got to produce a version of “Space Oddity”, some 10 years after rejecting the project. A video of this version was made for the hilarious Kenny Everett Show. Watch it here.

alabama song single cover

The Major Tom character would feature in a number of subsequent recordings by Bowie, most notably the majestic “Space Oddity” follow-up “Ashes To Ashes” in 1980 (which coincidently would become Bowie’s 2nd No. 1 UK single) and the Pet Shop Boys remixed version of “Hallo Spaceboy” in 1995. Major Tom would also finally feature (it is popularly believed) as the skeletal astronaut remains in the “Blackstar” video from 2015. Say goodbye to Major Tom here.

Bowie would perform “Space Oddity” live throughout his career and would rightly always remain a crowd favourite.

Now onto the rest of the album…

Unwashed And Somewhat Slightly Dazed” is an interesting affair. Said by Bowie at the time to be a reflection of his feelings following the death of his father, the song appears to be about a girl who is of a higher class and standing than Bowie and who’s stare reflects this difference in standing. Featuring for Bowie very upfront and some would say distasteful lyrics, “I’m a Phallus in pigtails, And there’s blood on my nose, And my tissue is rotting, Where the rats chew my bones” just isn’t going to help the protagonist get the girl. The music starts with basically an acoustic guitar, before a basic drum beat and electric guitar riff kicks in, followed by more guitars, harmonica and then the full Tony Visconti big production treatment takes over (with Visconti’s bass very high in the mix), then more horns, then the lot really. It ends up being a raunchy, over-the-top rock-based affair and quite unlike anything Bowie had done before (or since really). By far the “rockiest” track on the album.

(Don’t Sit Down)” is a 40 second piece of studio foolery, with Bowie singing to a basic rock track “Yeah, yeah, baby, yeah” a few times, followed by “Don’t sit down” a few times before Bowie bursts out in hysteric laughter. This track was dropped from all the subsequent RCA re-issues of the album. Is it in my Top 100 list of great songs? No.

Letter To Hermione” is the first to two tender love ballads on the album addressed to his ex-girlfriend Hermione Farthingale who had left him just before recording the album. It’s both incredibly beautiful and sad in equal measure and with lyrics such as “And when he’s strong, He’s strong for you, And when you kiss, It’s something new, But did you ever call my name. Just by mistake?“, you can’t but feel Bowie’s pain. This broken relationship had a huge impact on Bowie, later describing love as a “disease” and despite getting married the following year to Angie Barnett, one senses he didn’t find true love again for another 20+ years.

Cygnet Committee” is the centrepiece on the album, a 10 minute epic on the consequences of blind faith in the new, post hippy world. Bowie plays the weary leader of a cult for which he no longer has the belief or inclination to continue and his angry and frustrating annoyance at those who won’t listen to his rejections. It’s the first time that Bowie sings from the position of “outsider” and for which the lyrics appear intentionally obtuse, ambiguous and open to (much) interpretation. It certainly won’t be the last time fans puzzle on precisely Bowie’s meaning within a lyric. Although it’s a great track, it’s not at the same level of much of his future work, especially musically, which is a little ploddy and pedestrian, when it really should have been epic and climatic. It is however a clear sign of some rather special things to come.

Janine” is a fairly standard rock song, although a tad more up-lifting than some of the prior content.  It does however contain the lyric “Janine, Janine, you’d like to crash my walls, But if you take an axe to me, You’ll kill another man, Not me at all” which hints at schizophrenia, a topic Bowie would return to again and again in the future.

An Occasional Dream” returns us back to his woes with Hermione and is another beautiful love song that is more bitter than sweet. “In my madness, I see your face in mine, I keep a photograph, It burns my wall with time“. The 22 year old Bowie never sounded quite as vulnerable as he does at times on this album.

Wild Eyed Boy From Freecloud” is one of the real gems off the album and along with “Space Oddity”, a real highlight and dare I say, early Bowie masterpiece. In reality a basic folky ballad (as evidenced by the “Space Oddity” B-side version, recorded earlier and featuring just acoustic guitar and Arco bass), the version on the album gets the full Visconti huge orchestra production treatment. Telling the story of a young, peaceful mystical boy awaiting execution by hanging from village folk who both fear and misunderstand him, he reluctantly gets rescued by the great mountain of Freecloud, who destroys the village before they can harm him. The imagery, the musical atmosphere, the emotion and vocal delivery is all pure vintage Bowie at his absolute best. This track is the only one other than Space Oddity that Bowie would perform live once he entered his Ziggy Stardust period, as a medley with “Oh You Pretty Things” and “All The Young Dudes“. A Bowie classic in every sense.

God Knows I’m Good” is a quaint tale set to chirpy acoustic guitars of a little old lady praying she doesn’t get caught shop-lifting a tin of food, only to then pray for forgiveness once she gets caught. Bowie would often touch on religious themes in future work, this being another sign of things to come.

The album closes with the marvellous “Memory Of A Free Festival“, a truly beautiful, somewhat romanticised account of the free musical festival Bowie helped to organise in his home suburb of Beckenham, South London earlier that year. By all accounts Bowie was stressed as hell and had a miserable time, but this song tells how he had hoped the event would had gone. Starting slowly with a simple organ, Bowie’s wonderful vocals recounts how “The children of the summer’s end, Gathered in the dampened grass, We played Our songs and felt the London sky, Resting on our hands, It was God’s land. It was ragged and naive. It was Heaven.” With beautiful imagery, including meetings with passing Venusians (yes, I suspect there was a lot of bliss passed around that day), the song then breaks out into the second half chant “The Sun Machine is coming down, and we’re gonna have a party.” where the band breaks out and backing vocals spreads out the joy of the free festival. It’s another early Bowie treasure. A reworked version was broken into two parts and released as a single the following year, but as with Bowie’s output at the time and like the sun machine itself, sadly sank without a trace.

memory of a free festival cover

The original album cover featured a permed, “Dylan-esque” image of Bowie on a background designed by Victor Varasely. The brilliant artwork on the back cover was created by Bowie’s friend George Underwood and features different images and characters from the album.

Space Oddity album back cover

In the US, the album was re-titled to the much better “Man of Words/Man of Music” while using the same photo of Bowie but on a plain blue background.

Man of words Man of Music cover

The album really is quite excellent that features many Bowie treasures and gave many glimpses of Bowie treasures to come. Sadly and to Bowie’s frustration, despite the relative success of the “Space Oddity” single, the album did poorly and failed to initially chart. Bowie had to wait a further three long, long years before he finally achieved long lasting success with the “Starman” single and “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” album.

It’s at this point, that this album was given a new lease on life. Bowie’s record label at the time, RCA, bought the rights to the album (and the follow-up “The Man Who Sold The World“) and repackaged and re-released them in December 1972, just as Bowie’s fame was really taking off. The album was renamed “Space Oddity“, given a new cover featuring a close-up of our hero in early Ziggy Stardust guise, had some ludicrous notes printed on the back cover and finally achieved the success it deserved, reaching No. 17 in the UK charts. This would be the cover and title used for the next 30 odd years and the one I and many others grew up knowing the album by.

space oddity second cover

There have been various re-releases and remasterings of the album over the years. The most notable being in 1990 as part of the truly excellent Ryko CD re-release series that included a number of bonus tracks; the single version of “Memory of a Free Festival” Part I and Part II and:

Conversation Piece“, an absolute gem of a song originally released as the B-side of the single “The Prettiest Star“, the follow-up single to “Space Oddity”. It’s one of my favourite songs from this period, a brooding, quiet piece on the topic of loneliness and isolation. Bowie’s vocals are just exquisite here and you just want to give him a huge hug. Features Marc Bolan on guitar as an added bonus. A re-recorded version of this was done for the abandoned “Toys” project in the early 2000’s which was almost as good.

In 2009, a 40th Anniversary version of the album was released, that featured the original cover, plus a bonus disc that included a bunch of demos and live BBC recordings from this period, as well as “Conversation Piece” and the following notable tracks:

The Prettiest Star” was the follow-up single to “Space Oddity” and sadly, returned Bowie back to the long line of commercial failures. Which is a real petty because it really is a beautiful love song, that featured his good friend and musical adversary Marc Bolan on lead guitar. This single was the only time I believe they played together until right up to the very end when Bowie appeared on the “Marc Bolan Show” a few short weeks before Bolan’s tragic death. A much more widely known version was recorded and included for the “Aladdin Sane” album, with Mick Ronson playing the Bolan guitar part almost note for note. Both are wonderful, it’s just this version is more special.

prettiest star

A version of “London Bye, Ta Ta” was recorded around this time and kinda takes you back to the weirdness of Bowie’s debut album when it was first written. Based on the difficulties of the black community living in London, it’s a song Bowie has recorded a number of times but never to satisfaction of it being officially released.

Ragazzo Solo, Ragazza Sola” is an odd affair, the exact backing track to “Space Oddity” but with lyrics changed completely to that a love song and sang entirely in Italian. Strangely, it kinda works but Bowie would sing in a foreign tongue much more effectively on tracks such as “Heroes” and “Seven Years In Tibet” in the years to come. It was first generally available on the 1982 compilation album “Bowie Rare“, his last release with RCA.

At the time of writing, it’s the 50th anniversary of the initial release of the album. To celebrate, a number of exciting new releases are planned (initially in vinyl format) to capture the various demos that were recorded at the time. These are currently:

Spying Through A Keyhole (Demos and Unreleased Songs) 7″ Singles Vinyl Box Set

Spying through a keyhole

David Bowie With John ‘Hutch’ Hutchinson Clareville Grove Demos 3X7″ Vinyl Singles Box Set

Clareville Grove Demos

The Mercury Demos Vinyl

Mercury demos

I’ll update with more details on these once they’ve all been released.

The 1969 “David Bowie” album would prove to be a false start for Bowie, with the “Space Oddity” single doing well, but the album itself yet another commercial failure. For 3 more years, it would appear that Bowie might perhaps be destined to be yet another “one-hit” wonder. That would all finally change in 1972 when an orange-haired, rock ‘n’ roll alien would invade the earth and our TV screens.

But that’s a story for another day.

Best Tracks: “Space Oddity”, “Wild Eyed Boy From Freecloud”, “Memory Of A Free Festival”

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13. The Next Day

The Next Day

The Next Day” is David Bowie’s 27th and penultimate studio album, originally released on 8th March 2013.

I will never forget that magical moment back on 8th January 2013 while holidaying in Hawaii, when my son excitedly shouted out that Bowie had just released a new single and was going to release a new album in the coming weeks. I thought he was just joking, this surely couldn’t be true after so many years in hiatus. I had all but given up on Bowie ever again releasing any new material, with his last album “Reality” released way way back in 2003, but to my astonishment and glee, the joyous news breaking throughout the music world that day was indeed true.

The single released out of nowhere that day, “Where Are We Now?“, was a slow, moody piece that wasn’t quite my cup of tea, but seriously who cared, Bowie was finally back !! (As it turned out, the single was another clever piece of deception as it was nothing like the rest of the upcoming album).

During the 2003-04 “Reality” Tour, Bowie suffered a mild heart attack on stage on 25 June 2004 which resulted in the cancellation of the rest of the tour and emergency heart surgery. This frightening episode had a marked effect on Bowie, with his public appearances and performances becoming rarer and rarer, until in 2006 when he performed at the “Keep A Child Alive” charity event in New York, his last ever live public performance. He did subsequently perform “Chubby Little Loser” on the hilarious Ricky Gervais “Extras” TV sitcom and make other sporadic appearances on TV (such as the voice of Lord Royal Highness on “SpongeBob SquarePants”) and film (as Nikola Tesla in “The Prestige”) but in terms of new music, nothing.

The general consensus was that Bowie had unofficially retired from music, focusing now on his family and health. So it’s kinda remarkable that in total secret, with all musicians involved strictly sworn to NDAs, that Bowie began recording new material in 2011 in New York along with his long-time producer Tony Visconti. In the age of social media and 24 x 7 news cycles, that these sessions were successfully kept secret was indeed a marvel and totally unheard of (although such “surprises” have been used a number of times since, such as with Beyoncé).

The impressive musical ensemble consisted of many who played with Bowie on his previous few albums and tours, including Zachary Alford and Sterling Campell on drums, David Torn, Earl Slick and Gerry Leonard on guitars and Gail Ann Dorsey and Tony Visconti on bass, with Bowie himself playing some acoustic guitar and much of the keyboard pieces.

After periodic sessions spanning 2 years, the result was the highly impressive “The Next Day” double-album. The album was primarily a rock-art based affair, with lots of references to his past, both musically and personal. But importantly, it came out sounding fresh and energetic, with lots of interesting musical twists and turns, impressive from someone who had just turned 66 years when released.

The album opens with the brilliant, frantic, title track, “The Next Day“, about as different as you can get from the quaint, retrospective “Where Are We Now?“, the only prior taste of the album we had (and all part of a complex joke I’m sure). With images that reminds me of some grisly scene from “Game of Thrones”, this hard-rock track tells the nightmarish tale of suffering and torture due the hypocrisy of some religious order. Put in the perspective of Bowie illness with cancer, some of the images and messages here take on a new perspective. Released as the 3rd single off the album, the video directed by Florina Sigismondi and staring Bowie along with Gary Oldman and Marion Cotillard caused much controversy with Christian groups due to its graphic religious imagery. Check it out here.

The Next Day Single

Dirty Boys” is a quieter, slower affair, with its honky sax thanks to Steve Elson (who first worked with Bowie way back on the “Let’s Dance” album). It has a wonderful sleazy vibe that I’m sure Bowie was after. With its reference of stealing “cricket bats”, it also highlights that despite living in New York for many years, Bowie was still very much an Englishman at heart.

The next track, “The Stars (Are Out Tonight)” is one of the real highlights, a wonderful driving rocker, with a slight 60’s vibe thanks to Steve Elson’s sax and doo-wop backing vocals. Unusual for Bowie, it’s not actually about the stars in the skies but a somewhat cynical look at the stars on your TV screens. Bowie’s vocals are just spot on here, good enough to be nominated for a Grammy for “Best Rock Performance”. This was the 2nd single off the album, which would I think have made a stronger lead-off single and much more indicative of the rest of the material found within. The excellent video also directed by Florina Sigismondi and co-starring Tilda Swinton as Bowie’s wife features the current older Bowie meeting up with his younger Ziggy Stardust androgynous self. You can watch it here.

the stars are out tonight

Love Is Lost” slows things down just a tad, with another wonderful brooding track, with touches of the vibe from the “Scary Monsters” period. The guitar work by (likely) Gerry Leonard is especially good, as are Bowie’s vocals who again returns to the topic of lamenting lost love. The track was significantly extended and remixed by Steve Reich with lots of hand clapping and touches of the “Ashes To Ashes” classic baseline and released as yet another single (number 5 but I’m losing count here). It also featured a video rumoured to be the cheapest ever made (at the pricey sum of $12.99 US for a thumb drive) and recorded by Bowie himself in his home apartment with puppets of his past personas. Watch the video here.

Where Are We Now?” is possibly the most well known track off the album, thanks to its status as lead-off single when released on Bowie’s birthday in 2013 during the big reveal. It’s by far the slowest, most brooding track on the album, with Bowie reminiscing about his time in Berlin during the 1970’s. Perhaps because I’ve heard this so often now, I actually regard this as one of the weakest tracks found here, despite its often late classic status by many music critics. Watch the video here.

love is lost

Valentine’s Day” is another classic Bowie rocker and yet another highlight on the album. One of the darker tracks despite its classic rock feel, it depicts a USA school massacre by a demented student and rarely for Bowie, makes a political point by showing his disdain for the guns laws in his country of residence. Tragically, such a massacre would indeed later occur on Valentine’s Day in 2018 in Parkland, Florida. Released as the 4th single off the album, the simple video features a demented looking Bowie playing his guitar as one would a gun. Simple but effective. Watch the video here.

Valentine's Day

If You Can See Me” takes me back somewhat to the demented computer of the “Saviour Machine” from the “The Man Who Sold The World” album (from which much of this album seems inspired), but converted now to human form. Starting off with a high pitched wail from Gail Ann Dorsey, the lyrics spells out a demonic, chilling vision from thee who is “the spirit of greed, a lord of theft”. With thumping drums and bass line prominent, it’s actually Bowie’s treated, at times hysterical vocals that dominate this impressive track.

I’d Rather Be High” is one of two “protest” war songs on the album, with the protagonist showing clear disdain for the military hierarchy forcing him to train guns on subjects in the sands (the reference to Egypt suggests this could be more a reference to WWI or WW II rather than more current middle-east conflicts). He would much rather be high smoking drugs and having sex (then again, who wouldn’t). With a catchy refrain and military style drum beat, it’s another great track and another that got the remix treatment and released as yet another single (I think I’m up to 6, but losing track now) Watch the video here.

Boss Of Me” is possibly the low point on the album. Featuring again Steve Elson on sax, it’s a little ploddy musically, with the middle-eight section the clear highlight. Bowie’s vocals are excellent as they are throughout the album,  the song detailing how a “small town girl” becomes such a dominant person (his wife perhaps).

Dancing Out In Space” is an altogether different affair, a truly fun, catchy piece that sounds light and bouncy but has a slight edginess hidden within the lyrics. With the common Bowie theme of “space”, this however is more to do with “inner” rather than “outer” space, with water referenced a number of times suggesting perhaps an escape via drowning. I just love this track.

As indeed I do “How Does The Grass Grow?“, the second anti-war track on the album and one of the album highlights. With a clear musical nod to the classic “Apache” during the chorus, the dark lyrics suggests a soldiers regret at killing innocent women in a war zone. Bowie’s vocals are again somewhat distorted, suggesting he’s playing another character here, except in the middle-eight section when he’s back being the narrator. It’s just a powerful, moving piece with lots of musical twists and turns that is Bowie at his best.

All that said, “(You Will) Set The World On Fire” is yet another brilliant track and possibly THE highlight on the album. The music is that wonderful combination of being catchy, powerful and full of little Bowie highlights. The most native “New York” of all the tracks, it takes you back to the 60’s Greenwich Village folk scene, full of old reminisces set to a current rock setting. Bowie at his absolute best.

You Feel So Lonely You Could Die” slows the pace down a tad, a quieter more tender piece, with a beautiful arrangement and stunning Bowie vocal performance. I’ve always felt this was a piece where Bowie is lamenting with some assassin or criminal on past sins and how could he possibly live with himself. It’s another wonderful moment on the album, with the fading back-beat a clear reprise of the magical drum piece from “Five Years” off the “Ziggy Stardust” album.

The album officially closes with “Heat“, an atmospheric, brooding piece with Bowie again looking into his past and lamenting that despite his age, still doesn’t really know who he is. The track is typical Bowie, full of obscure imagery and with a sad quality that hits a nerve. Bowie’s vocal is just beautiful, as indeed it is on most of the album. After the frantic nature of so much of the album, a quieter piece to end it all.

After being away from the musical scene for such an extended period, “The Next Day” really was a stunning return by Bowie. It was both critically acclaimed and a commercial success, reaching the top of the charts in the UK and in much of the world and No.2 in the US and Australia.

The album when initially released on CD as a “Deluxe” version with a number of bonus tracks, that were also included on the double LP version of the album. These were:

So She” is yet another really catchy piece, with a beautiful Bowie vocal. The music is mellow, with acoustic guitars, soft keyboards and dreamy soundscapes featuring more than the roaring guitars more typical on the rest of the album. Put this down as a hidden Bowie gem.

Plan” is a slightly sinister instrumental, with a nice catchy back-beat and guitar loop. Unlike most of Bowie’s other instrumentals that usually feature keyboard synthesizers, this short piece is more rock oriented. You can hear “Plan” at the start of “The Stars (Are Out Tonight)” video.

I’ll Take You There” is a fantastic track, that sounds not unlike “Born In A UFO” that appears on the Extra version of the album. It’s a great rocker, with a fabulous chorus line that indeed does take you there. Co-written with guitarist Gerry Leonard, another track that probably deserves more than being just a bonus track, but there’s just not enough room.

Later in 2013, another version of the album was released called “The Next Day Extra“, a 3 disc box-set version of the album which included the original album, a DVD of 4 of the promo videos and a CD of extra tracks from the recording sessions. These included the 3 bonus tracks listed above, the re-mixed versions of “Love Is Lost” and “I’d Rather Be High” and the following previously unreleased tracks:

Atomica” with its driving rhythm and strained vocals has an almost glam rock like quality, without ever reaching the point of self-parody. It fits the overall feel of “The Next Day”, being in part a backward retrospective of Bowie’s entire career.

The Informer” starts with swirling soundscapes, before moving into a powerful Bowie vocal, where he sounds the most like his previous couple of albums (think “Heathen“/”Reality“) than anything else off this album. Perhaps one of the weaker bonus tracks in that the musical element just seems to be lacking something.

Like A Rocket Man” comes across as part revenge for Elton John nicking his coloured hair and outer spaceness with “Rocket Man”. It’s a bouncy, poppy piece with a 60’s vibe but like much of Bowie, the musical gaiety hides a darker lyric which directly references drugs and cocaine specifically. So into the mid 70’s we go with Mr Bowie in this excellent piece.

Born In A UFO” is such a Bowie song title, but the music sounds more like a combination of Bruce Springsteen (think “Born in The USA”) and his own Tin Machine period. It sounds a little like “I’ll Take You There” found also on this bonus disk, although it’s not quite as good. Perhaps a song that in part covers the current part of his career?

God Bless The Girl” is my favourite of all the bonus tracks, a really nice piece that has an almost gospel vibe to it all. Bowie sounds “younger” here and it reminds me of his 80’s period, but in a good way. This was included in the Japanese pressings of the original Deluxe version of the album.

the next day extra cover

Put altogether, all this new material, with not a cover in sight, equates to a triple album worth of musical gems. Bowie clearly had some serious catching up to do.

One of the big controversies with the new album was the cover. Unlike almost every Bowie album which featured a current image of our hero, this took one of Bowie’s most well known previous album covers “Heroes”, covered all the album text (except “David Bowie”) with a thick black marker and splattered a big white square containing the text “The Next Day” over the artwork. I must admit to not being a fan and would have much preferred a nice new photo, but that said, I have grown to like it much more these days and appreciate the courage it must have taken to have put it together.

Sadly, despite much financial persuasion, Bowie refused to tour the album or even conduct a single interview with the press to promote it. Although he was finally producing new music, he remained a recluse and left the promotion of the album largely to producer Tony Visconti.

For Bowie to produce such an impressive, high quality offering after being away from the music scene for 10 years and at the grand age of 66, is nothing short of amazing. Bowie unfortunately only had the one album left in him, the majestic “Blackstar“, which artistically is arguably even better. However, whereas “Blackstar” takes me to a sad place, this album will forever remind me of that wonderful holiday in Hawaii where I first heard the big news, and so gets ranked (just) the better.

As wonderful as “The Next Day” is, I still rank a dozen other Bowie albums higher, an indication of just what a crazily brilliant body of work Bowie produced. But that’s a topic for another day…

Best Tracks: “The Next Day”, “The Stars (Are Out Tonight)”, “Valentine’s Day”, “(You Will) Set The World On Fire”.

14. Blackstar

blackstar album

Blackstar” is David Bowie’s 28th and final studio album, originally released on 8th January 2016.

This was always going to be a difficult album to both place within my list and to discuss, as it conjures up so many mixed emotions. Initially, I was simply thrilled at yet another new Bowie release, getting to the record store just on opening time on Bowie’s 69th birthday to pick up an early copy. But within just a couple of days of its release, I was plunged into despair when I heard the shocking news of Bowie’s death.

So every time I give the album a spin, it’s a difficult listen.  Still.

Which is a shame, tragedy even, as the album is simply filled with some brilliant, unique songs. But the songs have a different context now following the revelations of his illness and subsequently death that gives so many of these tracks an emotional pull that (for me anyways), makes for a somewhat uncomfortable experience. The album just makes me feel sad…

All that said, to say Bowie left us on an artistic high would be an understatement.

Following the commercial and general critical success of his surprise “come-back” album “The Next Day” in 2013, Bowie got his musical mojo back again. But he now looked to explore a more jazz oriented sound, rather than the more conventional rock ‘n’ roll vibe of his previous album.

Bowie has played around with jazz on a number of occasions previously, remembering that the saxophone was Bowie’s first musical instrument and the influences of Terry his half-brother. I’ve always considered the “Aladdin Sane” album, with the amazing piano performances of Mike Garson to be very jazz influenced. Same with much of “The Buddha of Suburbia“, with perhaps the closing “Bring Me The Disco King” from the “Reality” album being his most recent attempt at a jazz based track.

After releasing a couple of jazzy based tracks in “Tis a Pity She Was a Whore” and “Sue (Or In a Season of Crime)” in 2014 (the latter in collaboration with Maria Schneider and her orchestra), Bowie was again ready to record a secretive new album. However, he decided to team up with a totally new collection of musicians, based on the jazz sounds of fellow New Yorker Donny McCaslin and his backing band (introduced to Bowie by Maria Schneider). However, the ever reliable and impressive Tony Visconti was retained again on production duties to record the unique listening experience that is Blackstar.

Starting in January 2015, the recording process was complicated with Bowie being diagnosed with extremely serious liver cancer. Although he was still hopeful of a positive outcome, Bowie knew that this could very well be his last ever album. The resultant stress, fear and sense of mortality just oozes out of the completed album.

The album opens with the stunning title track “Blackstar“, an almost 10 minute musical odyssey. Part jazz, part sci-fi art rock, part Gregorian chant and part just plain avant-garde bizarre, it’s an extraordinary track that truly sounds like nothing Bowie (or anyone else really) has ever recorded. It’s both eerie and beautiful in equal measure, with the opening sequence referencing an execution in the “villa of Ormen” featuring a haunting Bowie vocal. It then slowly glides into the middle section, in which the music is a tad more conventional (as is Bowie’s beautiful vocal) as he sings about his experiences of being a “Blackstar” and not a long list of other alternatives. The track then slowly returns us back to the villa of Ormen and its solitary candle, with McCaslin’s sax rounding off this masterpiece. The first single off the album, at 9 minutes 57 seconds, it just qualified as an iTunes single and remains the longest track to ever make it into the Billboard Hot 100 charts. A wonderful video was made, featuring different Bowie personas, including the “button-eyed” character to also feature in the “Lazarus” video and the jewelled skull of (possibly) Major Tom. A must-see if you’ve never seen it. Blackstar video.

blackstar single

 

Tis a Pity She Was a Whore” is a rework of the single that was released in 2014. With a driving beat underpinning a somewhat chaotic jazzy arrangement heavily featuring McCaslin’s sax, Bowie sings in his best creepy higher pitched register about his war-time adventures with a rather feisty women who unfortunately happens to be a whore. It really is as riotous as it sounds, although I slightly favour the original single version.

tis a pity cover

 

Lazarus” is another thing entirely. It was written specifically for the musical “Lazarus”, in which a modern-day Thomas Jerome Newton, the doomed alien character Bowie played in the movie “The Man Who Fell To Earth” laments his current existence in New York. Although it dates just prior to his awful cancer diagnosis, the lyrics (“Look up here, I’m in heaven, I’ve got scars that can’t be healed“) and somber haunting melody can’t but remind you on every listen that Bowie is indeed no longer with us. And the video, with the death-bed “button-eyed” Bowie being pushed to the next realm, well, it’s just painful viewing. But if you can take away all these emotional layers, the song really is quite beautiful and superb. The second single from the album, you can watch the video here.

lazarus single cover

 

Sue (Or in a Season of Crime)” is the second track from the album that had been previously released as a single, although again re-recorded for the album. Featuring an even more chaotic jazzy arrangement, it really is a killer track. Bowie again sings “in character” as the possibly deranged killer of Sue or is he just fantasising and wishing he did the evil deed when he discovers her unfaithfulness. As with much of Bowie, who can really tell. Although jazz really isn’t my thing, the combination of jazz/rock/Bowie-weirdness just works so well here. The previous (slightly better) single version featuring the Maria Schneider Orchestra won her a Grammy for Best Arrangement, Instrumental and Vocals. You can watch the video of the single featuring some black/white images of Bowie displayed on buildings here.

sue single cover

 

Girl Loves Me” is Bowie at his oddest best. Featuring lyrics that in part consist of both Polari and Nadsat gibberish (bringing back memories of his “Clockwork Orange” Ziggy phase), the standout line though is “Where the fuck did Monday go?“, a question I’m sure we’ve all asked at some point (although I ask the question more often of Sundays). The music is comparatively slower in tempo and sparser to what has preceded it, but with a stabbing beat, catchy chorus and a slight sense of unease throughout, it’s a lovely track that again sounds unlike anything Bowie has done before.

Dollar Days” is simply beautiful and again with yearning lines such as “If I’ll never see the English evergreens I’m running to” and “I’m dying to…” there’s a strong sense here that Bowie doesn’t deep down think he’ll be with us much longer. But the music is gorgeous and McCaslin’s sax here is I think at it’s very best. Bowie’s vocals are also just superb here, both fragile and soaring in equal measure. Just a wonderful track.

The album ends ever so quickly with the 7th track, “I Can’t Give Everything Away“. It’s perhaps the weakest track here, although in an album with so many highlights, this is not necessarily such a damning verdict. It fits the overall feel of the album with a moody piece that reflects time is fast passing away “I know something is very wrong, The post returns for prodigal songs, The black-eyed sharks with flowered muse, With skull designs upon my shoes“. The music has a somewhat “gentle” and melancholy vibe as Bowie slowly fades out for the very last time.

Overall, the album really is a fantastic finale to a fantastic body of work. If it wasn’t for the fact it makes me feel so damn sad listening to it, it would likely be rated a little higher in my list.

“Blackstar” was certainly highly critically acclaimed, with many rave reviews even before Bowie’s passing. It even received a Grammy for Best Alternative Music Album (his only album to win such an accolade) and remarkably was Bowie’s only No. 1 studio album in the US (it was Bowie’s 10th No. 1 in the UK).

Interestingly, “Blackstar” is one of the very few Bowie albums not to feature an image of Bowie on the cover (the original US version of “The Man Who Sold The World” and the original version of “The Buddha of Suburbia” being other rare examples).

A year later, on what would have been Bowie’s 70th birthday, the “No Plan” EP was released, that featured all four original tracks from the “Lazarus” musical/play and which were all recorded during the “Blackstar” sessions. In addition to the already released “Lazarus” track, this little gem also included:

No Plan” is a rather slow, sombre number, that reminds me a little of “Where Are We Now” from the previous “The Next Day” album. Of all the tracks from this period, this is my least favourite, with a somewhat forgettable musical arrangement that gently floats around.

Killing a Little Time” is altogether different, with a much more “rock” feel, with guitars and drums more prominent than elsewhere. It’s a perfect fusion of the sounds he achieved on “The Next Day” and the more outlandish sounds from these sessions.

When I Met You” is other great track, with a very catchy rhythm based on a great bass line that takes you back to earlier Bowie periods that few others tracks here do. Sung as a dramatic duet during the Lazarus musical, it works rather well as a Bowie solo piece as Bowie laments meeting the girl who changed everything for him. It’s another of those little known Bowie gems that are littered throughout his entire career.

 

no plan cover

All these versions are much better than the versions found on the “Lazarus” cast soundtrack album. Although the soundtrack is an excellent recording on the songs and associated arrangements from the musical, these are what they were all meant to really sound like and what fantastic songs they are.

lazarus soundtrack

Listening to the EP makes you want to go and see the Lazarus play/musical (it’s coming to Melbourne latter in 2019, so fingers crossed). It also makes you think what else Bowie could have achieved if fate had been different…

Seriously, after such an amazing career, what a wonderful album in which to say goodbye. That said, I still prefer his previous “comeback” album, in that while I find this remarkable album a somewhat sad listening experience, his previous album is both brilliant and uplifting.

But that’s a story for another day.

Best tracks: “Blackstar”, “Lazarus” and “Dollar Days”

16. Heathen

heathen

Heathen” is David Bowie’s 25th studio album and was originally released on 11th June 2002.

Soon after the release of the “Hours” album, Bowie separated from his long time collaborator Reeves Gabrels, so the follow-up was always going to sound somewhat different to those of the recent past. The follow-up album was originally going to be the “Toy” project, an album of re-recorded versions of songs he had (mainly) written in the 60’s/early 70s prior to becoming the well-known rock icon. Remarkably (this is David Bowie remember), he couldn’t find a record label willing to release the album and the project was eventually shelved (it was “unofficially” released on the internet in 2011).

Although “Toy” was produced by Mark Plati, during the recording sessions, he became re-acquainted again with Tony Visconti, the producer responsible for many of his classic 70’s albums. They had last worked together way back in 1982 during the recording of the “Baal” EP and both thought why not get together and see if they can maybe produce the same magic in the studio again.

Visconti provided some of the string arrangements for the “Toy” project and some of the recordings became the catalyst for the new album to come. Some became reworked tracks on the album proper, while a number became B-Sides for the various singles from the album.

Recorded during an extended period from late 2000 through to early 2002, the “Heathen” recording period included the horrors of what happened on that fateful day on 11 September 2001. Although Bowie has said that none of the tracks directly related to the terrorist attack that occurred in his then home town of New York, I have always felt that much of the mood and atmosphere of the album (in tracks such as “Sunday” and “Slow Burn”) were influenced by those terrible events.

That said, the album is simply gorgeous and full to the brim with beautiful songs and wonderful vocal performances by Bowie. The Visconti influence is there, but his skill has always been to capture the “current” Bowie at his best and the production on this album is superb. The melancholy of David Bowie circa 2002 is captured perfectly, with a highly talented bunch of musicians (lead ably by Visconti on bass, Matt Chamberlain on drums and David Torn on guitar, with Bowie playing a number of instruments, usually a good sign) adding to what truly is a wonderful album.

It begins with “Sunday“, a quiet, atmospheric piece with a stunningly beautiful vocal by Bowie. If it’s not specifically about 11 September 2001, it’s certainly about someone who has survived a catastrophic, harrowing event in which nothing has changed, but everything has changed. The intro sets the scene:

Nothing remains
We could run when the rain slows
Look for the cars or signs of life
Where the heat goes

with a chant like quality to the whole thing.

It builds slowly from there, with touches of new instruments and voices coming in here and there, until the climatic finale with Bowie’s despairing “Everything has chaaaaaaaaaaaaaaaanged” and Matt Chamberlain’s wonderful drum work taking us out.

Next comes “Cactus“, a cover of the Pixies track from their album “Surfer Rosa”. Bowie was a huge fan of the Pixies and he does this song justice with a nice performance. Typical of the album, the softer/quieter tracks are often interspersed with harder/louder tracks throughout.

The next track “Slip Away” was one of those originating from the “Toy” sessions, under the original title “Uncle Floyd“. Although some at the time thought the song was a nod to Pink Floyd, whom Bowie loved particularly during the Syd Barrett era, it actually references “The Uncle Floyd Show” which was a children’s puppet show during the 70’s and beyond. Another slow, melancholic, atmospheric piece, it has a certain yearning for a bygone era which would have been perfect on “Toy” but also works rather well here on “Heathen”.

Slow Burn” is my favourite track on Heathen, a wonderfully eerie rocker, with Pete Townsend providing some excellent guitar. Another song with 9/11 murmurings, it has all the elements of classic Bowie; a catchy, forceful rhythm, great lyrics, great vocals and that wonderfully unique instrumentation and arrangement quality that only Bowie can create. The lead off single from the album (but oddly not in the UK where it wasn’t released despite there being a number of different versions), it’s one of the classic Bowie songs that sadly most people would never have heard. A video of the song was recently released post his passing which is well worth watching. Watch video here.

slow burn

Afraid” is another “Toy” offshoot, although this time much of the backing tracks are essentially the same with the song remixed for “Heathen”. It’s perhaps one the weaker tracks here, although that’s always a relative term when it comes to Bowie. It has a nice guitar track throughout and again Bowie is in fine form, but it doesn’t have the distinctive quality of many of the other tracks here. It was a song often performed during the “Reality” tour and I think sounds much better live.

I’ve Been Waiting For You” is another cover, this time from Neil Young’s debut album. It works rather well here, with Visconti’s bass dominating and with again some excellent musical arrangements and guitar work (this time from a guest appearance by David Grohl). Bowie sings it with obvious affection and so passes the “does it deserve to be on the album” test. Released as a single in Canada only.

I Would Be Your Slave” has a catchy rhythm and string like arrangements, but it’s Bowie’s vulnerable vocal performance that lifts this song to a higher status. A plea to a potential loved one, that Bowie promises he would be dedicated to if they only opened up, you get the sense the relationship is ultimately doomed. It’s typical Bowie pulling the emotional heart-strings.

I Took A Trip On A Gemini Spaceship” is an absolute riot. The third cover on the album, this is a song by “The Legendary Stardust Cowboy”, a key influence in the making of Ziggy Stardust. Bowie sings the song in his most camp voice and it really is quite hilarious. Although much of the album has a sad melancholy, this just lightens up the mood of the whole piece. There really is hope for mankind, it just requires us to leave the planet and take a ride on a spaceship. “Weeeelllllllll” indeed !!

5:15: The Angels Have Gone” is another highlight, just a truly beautiful song. About separation, both physically from a foreign town and emotionally from a failed relationship, it just has everything one can want from a great song. Musically, it’s simple but also has that sprinkle of Bowie magic in the touches here and there and in the slightly odd, drum based rhythm.

The next track “Everyone Says Hi” continues the high standard with a more uplifting accompaniment to the previous song. Here, the theme is again about leaving, but from the perspective that everyone misses you and that if you ever want to return, the old life is there waiting for you (all your friends, Mum, Dad, the dog…). Released as a single, it came out in a vast array of options, which made it really expensive for us Bowie fans.

Everyone says hi

A Better Future” is a little flat and plodding in comparison to what has come before. It has a nice enough rhythm and keyboard based hook, but Bowie’s deadpan vocal and the lack of any great emotion or change in musical structure makes it one of the weaker tracks here. Somewhat forgettable.

It all ends with the title track “Heathen (The Rays)“. With a brooding arrangement and basic drum backbeat, it rather nicely rounds off the album. It has a religous like quality, perhaps an older man’s “Word On A Wing”:

Steel on the skyline
Sky made of glass
Made for a real world
All things must pass
Waiting for something
Looking for someone
Is there no reason?
Have I stared too long?

Wow, what a great album and this from a then 55 year old who had already achieved so much.

Another tracks worth mentioning from around this period:

Conversation Piece“. This was released as a bonus track on a second CD that come with limited editions of the album when first released. From the “Toy” sessions, the song originally dates way back to being the B-Side of Bowie’s early single “The Prettiest Star” (featuring Marc Bolan) and is an early indication of the genius that is Bowie. It’s an early masterpiece and one of the most beautiful songs he’s ever written. This version is not quite as stunning as the original, but that wonderful sense of vulnerability is still there.

Wood Jackson” featured as the B-Side to the “Slow Burn” single. Sounding really really sad, it’s a truly eerie piece about a clearly troubled musician who can’t quite get a grip on life. Believed by some to be based in part on the musician Daniel Johnston. For those occasions when you might feel a little lonely.

Shadow Man” is possibly my favourite piece from this whole period. Another early song of Bowie’s dating back to 1971 and beyond, recorded again during the “Toy” sessions, this is such a great song. Previously never officially released (although an early version recorded during the Ziggy Stardust sessions has been available on bootleg albums for some time), this is just brilliant and this version is possibly Bowie’s finest vocal performance in his whole post 1990’s era. This version is so damn good, that it was included in the “Nothing Has Changed” compilation released in 2014. Mainly piano based, with a quiet arrangement, Bowie’s voice is front and centre and is just stunning. Appeared on some B-Sides of the “Slow Burn” single and on the bonus disc of the re-released limited edition of the album.

Safe” is an outtake from the “Heathen” sessions, it’s another brooding song but with a much more expansive arrangement, with squealing guitars and louder, anguished vocals. It’s not as strong as much of what made it onto “Heathen”, so you can see why it was dropped. Again featured on the bonus disc with the re-released version of the album.

When The Boys Come Marching Home” is another “Heathen” outtake and perhaps the weakest track of the lot. With a nondescript arrangement and clear military musings (including the drum beat), Bowie would tackle this topic far more impressively on “The Next Day” album. For now, this track is nothing more than a curiosity.

You’ve Got A Habit Of Leaving” dates all the way back to 1966 when Bowie was a total unknown and the lead singer of “Davy Jones & The Lower Third” when this song was released as a single (the last single before becoming David Bowie). It was a flop then and although this version from the “Toy” sessions can be viewed as an improvement, it’s still not the best song in the Bowie cannon. An interesting piece, but I actually prefer the original with the fresh sounding Bowie vocal of its time. Included as a B-Side on some versions of the “Heathen” singles and as a track on the bonus disk of the re-released album.

Baby Loves That Way”  was originally the B-Side to the single “You’ve Got A Habit Of Leaving” by “Davy Jones & The Lower Third” and was also re-recorded for “Toy”. Here, the original is much the better version, with this having all the life and energy of the original drained away. One can see why the “Toy” concept was rejected by record companies based on this track. Again, included as a B-Side on some versions of the “Heathen” singles and as a track on the bonus disk of the re-released album.

The album cover (which I’ve used as the background to my computers ever since) is certainly up there as one of Bowie’s most distinctive covers, featuring Bowie’s “out of this world” eyes.

Overall, “Heathen” was received positively by both the music critics and by the public at large. It reached No 5 in the UK charts, No 14 in the US and even made it to No 9 here in Australia. Not bad from someone releasing their 25th studio album and who couldn’t be bothered recording any videos to help promote the thing.

Bowie did tour the album on a somewhat limited basis between June and October 2002 in both Europe and the US (but again not in Australia goddammit). The first couple of dates included playing both the “Heathen” and “Low” albums in their entirety before the tour proper started (how cool would that have been !!). Many of the “Heathen” songs were also covered during his final “Reality” world tour.

Listening to the album now, it really has aged rather well and is typical of much of Bowie’s output. A little ahead of its day, with a lot of brilliance and with very much a timeless quality that one can forever fondly listen to.

It was certainly a cause of some excitement at the time that Bowie and Tony Visconti were back working together again after so many years. In the end, Tony Visconti would turn out to produce all of Bowie’s future albums. Sadly, there were only three more to come, “Reality” released in 2003 and after a 10 year hiatus, the superb “The Next Day” and “Blackstar” albums.

Both the latter albums have yet to appear in my list, but that’s a discussion for another day.

Best Tracks: “Sunday”, “Slow Burn”, “5:15 The Angels Have Gone”, “Shadow Man”

20. Young Americans

young americans

Young Americans” is David Bowie’s 9th studio album and was originally released on 7 March 1975.

Now we’re reached the Top 20, the quality of album is really starting to crank up.

By mid 1974, Bowie was creeping ever deeper into a rather dark place with massive international fame not being quite what he hoped it to be. With the gruelling “Diamond Dogs” tour and the pressures of outrageously complex theatrical nightly performances, with relationships with both his wife and his manager quickly deteriorating and on a famous diet consisting of just milk, peppers and cocaine, Bowie was both skeletal and barely coping. This was all so well documented in the brilliant “Cracked Actor” BBC documentary (watch it here).

In this environment, it’s extraordinary that Bowie decided to change his musical direction so radically from the “Glam Rock” genre that Bowie had mastered so well to the disco, black influenced “plastic soul” that was the “Young Americans” album. It was the first time while in a position of fame that Bowie decided to take such a dramatic change of musical direction and while this started his unique reputation of being the “Chameleon of Rock”, it’s easy to forgot how much professional courage such an undertaking  would have required. It could so very easily have backfired resulting in critical ridicule and the mass abandonment from his legion of fans. The fact Bowie succeeded in producing such a fine album that was a huge commercial success, especially in the tough American market where the album reached the Top 10 is a testament to the musical genius that is Bowie.

Recorded primarily during a break in the “Diamond Dogs” tour at the famous Sigma Sounds studio in Philadelphia, USA, Bowie himself described his new album somewhat derogatory as “Plastic Soul”. In truth it was anything but “plastic” or “fake” having garnered a group of highly talented (mainly) black musicians that injected a high degree of authenticity into the new album.

The only musician to survive from previous albums was pianist Mike Garson, although this would be his last album with Bowie for nearly 20 years. The album introduced a relatively unknown Puerto-Rico guitarist Carlos Alomar, who would work with Bowie for the majority Bowie’s future albums. On bass and drums were the very well respected session musicians Wellie Weeks and Tony Newmark respectively and on saxophone, the then almost unknown David Sanborn who would bring such a rich sound to the album. The impressive cast doesn’t end there. Backing vocalists included Ava Cherry, Robin Clark and a then almost unknown Luther Vandross.

Bowie would record two tracks later on in New York at the Electric Lady Studios when he got together with the one and only John Lennon, where two more highly important Bowie musicians were first introduced, Earl Slick on guitar and Dennis Davis on drums.

One other key ingredient to add into the mix was Tony Visconti, who after helping to mix the previous “Diamond Dogs” album, was reunited with Bowie for his second spell as album producer and in this case also studio engineer during the Stigma Sounds sessions.

With such an amazing cast of musicians and with the unique writing ability of David Bowie, a great album was almost guaranteed. Bowie loved “black” music that was dominating much of the US music scene at the time and wanted to create his own version of the Philly Sound, Motown, Soul Train, black styled music. He succeeded wonderfully and created one of the first white “disco” albums, before the likes of The Bee Gees, KC and the Sunshine Band,etc. made it hugely mainstream.

Don’t get me wrong, “Young Americans” is a wonderful album, but for a couple of key reasons I rate this as my least favourite album of Bowie’s unbelievable 70’s output. Music is a funny thing and much comes down to personal preferences and it’s just that disco/soul however you want to label it, is just not my favourite style of music, especially when it comes to Bowie. As much as I enjoy this album, I simply enjoy all the other Bowie albums to come in my rankings just that bit more. Additionally, there are a couple of tracks that brings down the album overall from what it could have been and that’s all it takes to be rated lower than the awesome competition.

The album kicks off with one of Bowie best known songs, the title track “Young Americans“. Describing the struggles of a young couple in post-Nixon USA, the joyous musical arrangement belies the hard hitting lyrics. Like much of the album, the track is basically recorded live in the studio and gives the song a wonderful vibe and feel that is perfectly captured by Visconti. The funky groove is fabulous as is Sanborn’s sax and with Bowie fast-flowing lyrics, this really is a classic track. The highlights for me though are the re-use of Lennon’s famous line “I heard the news today, oh boy” and the wonderful climax “Ain’t there one damn song that can make me break down and cry?“. This was released as the lead off single and became Bowie’s first top 20 US hit. No wonder really. There was no official video for this, although Bowie’s performance on the “Dick Cavett Show” is a good substitute. See it here.

young americans single cover

The next track “Win” is my favourite offering here. It’s a truly wonderful song, with Sanborn’s sax a particular highlight. It’s slower, more mellow and less wordy than much of the album and has a feel that reminds me somewhat of the “Station To Station” album to come. Bowie’s vocals move from tender to downright ominous as he sings “Someone like you should not be allowed to start any fires“.  This track along with the next (“Fascination”) were both recorded later in the year at the Record Plant studios in New York to in theory complete the album and so has a slightly different feel. I’ve always loved this track and as they say is worth price of admission alone.

Fascination” comes next with that funky groove in full swing and with Carlos Alomar’s rhythm guitar dominating throughout. Co-written with Luther Vandross and recorded in New York, the vocal arrangements with Bowie following the backup vocals during the chorus is particularly catchy.  “I know people think I’m a little crazy” does rather sum up Bowie’s experiences in the US. It’s a solid all-round track that is typical of the sound that Bowie was after with this album.

Right” is a mellow track with Bowie in fine form vocally but the unfortunate backing vocalists really struggled with the odd-ball time signatures and in-out timings (as documented on both the “Cracked Actor” and “Five Years” BBC documentaries). It’s one of my less preferred tracks although when it swings through the motions during the second half of the song, it does have a hypnotic feel. Perhaps because it was so difficult to record, this is one of those rare Bowie originals that has never been performed live.

Somebody Up There Likes Me” which opens side two in many ways is the centre-piece of the album and perfectly encapsulates the album, with it’s smooth yet funky guitar driven arrangements, catchy backing vocals, Bowie’s cool delivery and with Sanborn’s sax floating over everything. The blue-eyed soul boy at his best.

Across The Universe” is where things go very wrong. In early 1975, Bowie teamed up with John Lennon and decided to record a few tracks together at the Electric Lady studios in New York. This track is one of the results of their collaboration, a cover of Lennon’s/The Beatles classic and it just doesn’t work and it just doesn’t fit within the theme of the album. It’s bland and boring with the real tragedy being that much much better tracks were dropped to make room for this. I can only imagine Tony Visconti’s shock at hearing that this song (which would have made a perfect B-side to “Fame”) meant “Who Can I Be Now?” and “It’s Gonna Be Me” had to be dropped from the album. If not for this track, this album would likely have been rated a few notches higher, it’s that close.

Can You Hear Me” is one of the weaker tracks on the album, a ballad with a much more simplistic arrangement and featuring Bowie’s least impressive vocal performance. It’s just one of those tracks that I’ve never got into and adds weight for this to be Bowie’s least impressive 70’s era album.

Fame” is the second track to be included from the Lennon sessions and is altogether a different story. Here, Visconti can’t argue that this fully deserves it’s place on the album. Featuring a killer guitar line by Alomar (based in turn on “Foot Stompin” which Bowie had been unsuccessfully working on) and Lennon’s high pitched “Fame” backing vocal, this has become one of Bowie most loved treasures. Detailing Bowie’s disappointment having finally achieved fame, the use of multi-speed vocals is brilliant and classic Bowie. Released as the second single off the album, it achieved No 1 status in the US (Bowie’s first), one of the very few singles to chart higher in the US than in the UK where it only reached a relatively disappointing 17. Bowie no doubt thrilled to work with his hero Lennon would rank this as one of his favourite songs, with it being the song he would perform live the most throughout his career. Bowie also re-mixed “Fame” in 1990 for the movie “Pretty Woman” which had a rather excellent video. Again, there was no official video for the original “Fame”, although Bowie’s humorous, poorly lip-synced performance on Soul Train (the first white performer to feature) has become the unofficial video. Fame 90 Video.

fame

So an overall fine album, especially if you’re a fan of disco or black soul based music, but with one particular weaker moment.  And a brave album, when you consider the glam rock genre that had been Bowie’s ticket to stardom and success up to that point. But Bowie hadn’t really cracked the US as he had the UK, with glam rock just not something that appealed to enough of the market there. So a brave but also an astute move of Bowie’s by predicting the success of disco and creating an album that would ultimately appeal to a much wider audience in the market he most craved to break.

The album has been re-released a number of times, with some worth a mention.

In 1991, it was re-released and remastered on CD as part of the superb Ryko/EMI Sound and Vision series where most of the reissued albums featured bonus tracks. With the “Young Americans”, these were:

Who Can I Be Now” the first of the two tracks dropped from the original album listing to make room for the Lennon tracks. A rather nice ballad, featuring Mike Garson’s piano more predominately than elsewhere, Sanborn’s ever present sax and some wonderful backing vocal melodies, this is soooo much better than “Across The Universe”.

It’s Gonna Be Me” is another ballad with an upfront piano based arrangement, it features Bowie’s crooning, coke-cracked vocals at its best, but overall it doesn’t quite do it for me. The whole thing comes across as a little flat and is the most “plastic” of Bowie’s tracks recorded for “Young Americans”.

John, I’m Only Dancing Again” was recorded during these sessions and was originally planned to open the album before finally being dropped. A totally reworked version of Bowie’s glam classic “John, I’m Only Dancing”, only the chorus lyrics remain while the rest is transformed into a hip, disco driven funky jive 7 minute marathon. In the context of the album, it works rather well, but give me the original Ziggy versions anytime. This new version had previously seen the light of day when released as a single in 1979, the full version on 12” inch.

john-im-only-dancing-again

In 2007, a Special Release version of the album was re-issued again, this time including a DVD with a wonderful new 5.1 surround sound remix which gives the album a new lease of life.

In 2016, the album featured in the box set “Who Can I Be Now? (1974-1976)“, which also included a version of “The Gouster“, the original name for the “Young Americans” album, with the original track listing from just the first Sigma Sound sessions. It’s a nice to have although there’s nothing here that hasn’t already been previously released.

who can i be now boxset

Bowie wouldn’t officially tour the album, although when he resumed the US only “Diamond Dogs” tour, it was totally revamped with all the complex sets discarded for a more intimate live experience re-badged as “The Soul/Philly Dogs” tour which did feature some of the new material. The LA performances from this part of the tour was released for the 2017 Record Store Day on the excellent triple LP “Cracked Actor (Live Los Angeles ’74)”  which included both “It’s Gonna Be Me” and “John, I’m Only Dancing Again”. It has since been released on CD.

cracked actor lp

As I mentioned earlier, two fantastic BBC documentaries capture Bowie superbly during this important period. The first “Cracked Actor“, filmed in 1974 during the recording of the album in-between the Diamond Dogs tour is a simply stunning insight into Bowie at the time, struggling to cope with fame, LA and drugs. Cracked Actor Link. The second one is “Five Years“, in which five formative years are discussed in detail, including the 1974-75 period and the recording process for “Young Americans”. “Five Years Link“.

Many regard this as one of Bowie’s very best albums but for me, there are many more albums that I prefer. While enduring a coked-out hellish existence in LA, Bowie would refine the “soul boy” sound on his next album but add a layer of European influenced electronica to create a truly special masterpiece. But that’s a story for another day.

Best Tracks: Young Americans, Win, Fame

22. Reality

reality

Reality” is David Bowie’s 26th studio album and was originally released on 16 September 2003.

The quality of album is beginning to really jump up here with “Reality”, the album that looked for many a long year to be the last Bowie might ever record. Released just a year after his excellent 2002 effort “Heathen”, this was the second Tony Visconti come-back produced album. With a heavy “New York” influence and with some truly excellent tracks, Bowie was in a bit of a swing and producing some really nice new material. In fact, he had consistently been producing good albums throughout the 90’s and 2000’s, although I would rank this as being slightly below par for that period.

The album contained an interesting mix, from full blown rock, to jazzy numbers to some art-rock type pieces right through to basic pop, the album featured a chocolate box of influences and styles. Overall, it was a fine album and the subsequent live performances during the “Reality” world tour featuring much of the album highlighted how Bowie indeed still “had it”. I think Visconti was an overall good influence here, making much of the new material shine and sound as good as it possibly could.

Considering his age (he was 55 when he recorded this album), Bowie was still full of energy and still pushing the boundaries, with a unique world-wide cinema “live” release of the album and a full blown world tour to promote it (including at long long last Australia again !!). However, the overall thread that runs through the album is indeed old age, mortality and how life will eventually come to an end. Sadly.

The album opens with the fabulous “New Killer Star” (Nuclear Star, get it), my favourite track on the album. With imagery of post 2001 New York and a killer riff, this really is classic Bowie and worth price of admission alone. The first single from the album (which sadly and a little surprisingly didn’t chart), the video was a bit disappointing in that it didn’t actually feature Bowie but a series of lenticular images that appear to move as you view them from different angles, showing an astronaut in trouble within his spaceship on an otherwise beautiful day on Earth where it crashes. Music Video.

new killer star

Pablo Picasso“, a cover of a song by The Modern Lovers (who?), is a positive delight. Featuring some nice Spanish-like, distorted acoustic guitar and again the band in a groovy mood, Bowie’s vocals are fabulous here. With hilarious verses and a chorus as catchy as hell, this is one of Bowie’s best ever covers. I love it.

Never Get Old” continues the good form, although I must say since his passing, this song feels altogether different now. A somewhat tongue-in-cheek ditty about how Bowie indeed never looks old (probably all the drugs) and how he will likely just live forever, the music is alive with a great drum/bass/rhythm guitar foundation. Since Bowie indeed never did grow old (69 is way too young) and that he didn’t live forever, the song now has a sadness to it that makes it just a little uncomfortable to listen to now. This was the second single off the album.

never get old

The pace changes significantly with “The Loneliest Guy“, indeed we come to a screaming halt and start to go really slooooooooooooooow here. With Bowie at his most tender, this song feels a little out of place here and sounds more like a soundscape piece from the “1. Outside” album. Featuring an anguished, lonely indeed vocal, a very thin orchestration of sparse piano and weird little soundscapes, Bowie had a lot of fun playing this on his “Reality” tour to see how the crowd would react. Not one of my favourites.

The catchy drum beat and guitar riff reappears with “Looking for Water“, a desperate sounding, thirsty Bowie appears lost in some Middle-Eastern desert. It reminds me just a tiny tad of an old song by the Bowie inspired New Musik called “The World of Water”, if only for the watery theme and clever use of backup vocals. It’s a solid track that was occasionally performed live on the “Reality” tour.

She’ll Drive the Big Car” is about a disillusioned woman from New York who has probably listened to “Always Crashing In The Same Car” too many times (not possible I know, but…) and is contemplating driving her fancy big car into the Hudson River. Bowie’s vocals are a tad distorted here, giving him a slightly unattached feel as he narratives.  It really is a good song that I’ve always just enjoyed.

Days” has almost “country” twang to it, but despite this (I really dislike country music, aaarrrgggg), it’s another really nice, soft song. Bowie sounds wonderful here, as he searches for a friend.

Fall Dog Bombs the Moon” has a great bass line (very common with Visconti produced albums, especially when he’s playing) and is Bowie touching the subject of the Iraq War, a concern for many in 2003, which he does a few times more in the (distant) future.  The lyrics here are particularly good with cutting verses such as “There’s always a moron, Someone to hate, A corporate tie, A wig and a date, Just a dog“. Bowie comes back to this subject on “The Next Day” with tracks such as “I’d Rather Be High” and “How Does The Grass Grow“.

Try Some, Buy Some” written by George Harrison, is one of the weaker moments on the album. It just doesn’t do it for me, with a somewhat lacklustre production and a Bowie vocal that sounds forced and unconvincing. It just sounds dull, which is never a good thing.

The title track “Reality” comes next which lifts both mood and tempo with the “rockiest” track on the album. Bowie sounds both frustrated and sarcastic as he details how we must all face the reality of life. It also comes across as a little biographical as he explains his previous faults and failings “I built a wall of sound to separate us, And hid among the junk of wretched highs, I sped from Planet X to Planet Alpha, Struggling for reality“. This song in particular sounded great live.

The album closes with “Bring Me the Disco King“, a song Bowie has struggled to get right since he first looked at including it on an album way back on “Black Tie White Noise” in 1993. But it wasn’t until “Reality” with Mike Garson’s prominent tinkering jazz inspired piano that Bowie felt confident for it to be released. I’m no great lover of jazz and so for me, this finale just isn’t my cup of tea. However, the lyrics are rather beautiful and again focus on the past and how in the future death beckons. Considering that Bowie is no longer with us, it does have a poignancy that makes for an even more difficult listen now.

So overall, a rather good album and well worth a listen if you stopped listening to Bowie during the 80’s.

There were quite a number of different formats for the album around the general time of it’s initial release. On top of the general single CD release, there was a 2 disc version that included a second CD of extra tracks:

Fly“, a poppy kind of song, with a catchy enough chorus that always reminds me a little of the work of Devo. It’s notable for having Carlos Alomar on guitar, for what would be his last ever appearance on a Bowie album or on stage.

Queen of All the Tarts (Overture)” is actually my favourite piece from the whole “Reality” project. I simply love this song and although it’s clearly unfinished and has lyrics that only repeat the song title, it’s a fabulous Bowie experience. With music that is manic and catchy as all hell, I could quite happily spend a day listening to just these 3 minutes. The song was featured on the “Reality” tour by being played just before Bowie and band took the stage.

Rebel Rebel” (2002 re-recording). The re-worked version is OK, but the original is just so much better. This was the version/arrangement Bowie performed during the opening of  the “Reality” tour

There was also a version of the album that included a bonus DVD of the live performance of the album that was recorded at the Hammersmith Riverside and aired in cinemas all around the world prior to the album release. It also included a bonus track:

Waterloo Sunset“, a cover of the famous song by The Kinks. Of all the covers during the Reality sessions, this along with “Pablo Picasso” work best. Bowie gives a rather lovely, heartfelt performance here and the guitar riff is spot on. Well worth a listen.

Finally, there was yet another version of the album which featured a DualDisc CD/DVD, which included a 5.1 surround sound mix of the album. This mix does indeed sound rather marvellous.

The other track worth a very quick mention is “Love Missile F1 Eleven“, a somewhat forgettable cover of the Sigue Sigue Sputnik hit that featured on the B-Side of the “New Killer Sun” single.

Bowie promoted this album with the excellent and extremely successful “Reality” world tour. It was excellent for a number of reasons, the band were truly fantastic, the set-list was extensive, changed on a daily basis and included some amazing and rarely performed songs (such as “The Bewlay Brothers”, “Fantastic Voyage” and a Ziggy Stardust based finale) and most important of all, because after 17 looooooong years, finally included Australia again. The tour was recorded both on video and as a live album and captures rather well the whole essence of the tour.

I was fortunate enough to get tickets to both Sydney shows and will of course always fondly remember them. But I distinctly remember after the second show thinking I will likely never get to see Bowie live again and although still incredibly pumped, had a sad feeling for many days afterwards.

Later during the European leg of the tour, Bowie suffered a minor heart attack and had to end the tour prematurely. He would never tour again. After the odd appearance here and there (most notably with David Gilmour on his tour in 2006), Bowie slowly disappeared from the public scene entirely. For many a long year, it therefore looked as if “Reality” would be his last ever album.

However, on 8 January 2013 we heard the wonderful news that Bowie had just out of nowhere released a new single and that a new album was on its way. So there were a couple yet of more excellent albums to come from the great man. But that’s a story for another day.

Best Tracks: New Killer Sun, Pablo Picasso, Queen Of All The Tarts (Overture)

a reality tour

24. David Bowie

david bowie 1st album

David Bowie” is David Bowie’s self-titled debut that was originally released on 1 June 1967.

By 1967, David Bowie had already been in the music industry for some 3 long, almost entirely unsuccessful years. He had released quite a number of mainly R ‘n’ B style singles, both with various bands (The King Bees, The Manish Boys, The Lower Third) and as a solo artist. And all had flopped dismally (which is great for us collectors as many are now quite valuable rarities).

Bowie then met Kennith Pitt, who would be his manager during his formative 1967-1970 years and managed somehow to secure Bowie an album contract with the Deram label, who were after someone a tad different to the norm. Pitt was of the belief that R ‘n’ B and rock music in general was not a long term career path and that if Bowie was interested in a future in the music industry, he needed to be an “all-round entertainer” and look at moving towards a more pop, cabaret, “music hall” oriented musical direction.

With his then backing band “The Buzz”, Bowie recorded his first ever album, the self-titled “David Bowie” probably his most bizarre, unBowie-like album of his entire career. If you only know Bowie from his greatest hits, you simply wouldn’t believe this to be a Bowie album. Heavily influenced by the likes of Tommy Steele and especially Anthony Newley (huge at the time and most well-known for his many hits in the late 50’s, early 60’s, starring in films such as “Oliver Twist” and musicals such as “Stop The World, I Want to Get Off”), the album is full of tragic little tales sung in that Anthony Newley London accent. It’s also the most “London” album the Bromley-based budding artist has ever made, with various references to his home town.

The music is pure pop, with weird little musical arrangements and big hall orchestrations, that is as far from conventional rock music as Bowie has ever been. That said, it does sometimes have a hint of the psychedelic child-like writings of Pink Floyd’s Syd Barrett, but without the original out-there spaced-out music that made the first Pink Floyd album such a classic. The rough theme of the album is a collection of quaint little tales, sometimes with a child-like yearning and more often than not, with a tragic element. Many of the songs come and go after a couple of minutes, no 10 minute odyssey here.

I remember where I first bought this album (the sea-side town of Skegness of all places) and after initially being somewhat surprised (shocked) by what I heard, soon grew to love it. And I love it still to this day, this is such a wonderful album that brings back lots of fond memories for me. It’s an album which although has always been critically maligned and which I readily admit is not up there with Bowie’s best, is an album which is very well worth a listen, and who knows, you might grow to like it as well. If I ranked albums more with my heart, then this album would probably be ranked much higher.

The album kicks-off with “Uncle Arthur“, the tale of a mommy’s boy 32 year old adult who finally finds a lovely girl Sally, only to return back to mum because his poor Sally’s cooking isn’t up to scratch. It’s a fun little song that’s typical of the album, but one which is hard to imagine say The Thin White Duke ever singing in 1976.

Sell Me A Coat” is nice, folk ballad that tells of the sadness of a love that is no more. Sadness is a key theme throughout the album, with sweet songs that often convey how things are no longer what they were. If I had to pick the weakest track on the album, this would be it.

Rubber Band” continues this theme, this time the tale of someone in love who goes off to war only to return to find his loved one is now in a relationship with the leader of the local park band. The jealousy and anger of the poor chap can’t but bring a tear to the eye. A version of this song was released as a single in late 1966 and sold about as few copies as all Bowie’s other singles to date. Music Video.

rubber band

Love You Till Tuesday” is a much more “up” song, a simple, quaint love song, in Bowie’s best Newley voice, on how upon meeting a girl promises to stay in love until at least Tuesday. Now that’s commitment , especially for the swinging 60’s. A version with a different vocal track was released as a single shortly after the album release. It was a flop like all his other previous singles.

love you till tuesday single

There Is A Happy Land” is a rather beautiful little song on the joys and pleasures of being a child. But there is a dark undertone regarding how adults can so easily wreak the happy land of childhood. It’s a theme that Bowie touches on a few times, perhaps more eerily and successfully on “After All” from the “The Man Who Sold The World” album.

Bowie goes a little political with “We Are Hungry Men“, how mankind is over populating the planet and unless we do something about it (free contraception pills, mass abortions, infanticide) we’re all doomed. Bowie’s audience (likely in a Bromley pub) have little interest in such measures and decide to eat the boring fear-monger. Gulp, Burp ends the track.

When I Live My Dream” is another lovely love song, this a dreamy romantic overture to a girl who unfortunately has an interest in all too many other boys. He desperately wants the girl but knows the beautiful dream he describes will never come true.

Little Bombardier” is yet another all too sad tale about poor, lonely Frankie Mear, a bombardier scared by war who finally finds friendship and companionship in the form of two children. Just when things are finally going well for the poor chap, the mean arm of authority forces him to leave the town (an adult hanging out with 2 young children, that can’t be healthy), his reputation in shatters, never to return again.

At around this time, Bowie had a keen interest in Buddhism (he even seriously considered moving to a monastery). “Silly Boy Blue” is song about spiritual escapism that evokes imagery of Tibet and butter statues that has a killer bass line throughout.

Come And Buy My Toys” is a nice acoustic number that again evokes imagery of the joys of being a young child and how in the near future one will eventually grow up to the tiredsome responsibilities of adulthood. But for now, you’re still young enough to enjoy the toys on offer.

Join The Gang” is a fun song espousing all the joys of joining a trendy gang, hanging out in pubs and clubs while paying for overpriced crisps and coke drinks. If only a coke was still just 15 bob.

She’s Got Medals” tells the cautionary tale of Mary, a somewhat butch woman who enjoys hanging out with the blokes, joins the army during the war but before they all get wiped out by a bomb,  deserts and decides that the feminine life isn’t so bad after all.

Maid Of Bond Street” is short ditty about a beautiful London based model that has every luxury that life has to offer. Everything that is except the man she really wants, he’s too jealous of her fortunate lifestyle. The arrangements here are just a pure joy.

The final track “Please Mr. Gravedigger“, isn’t really a song at all but a short theatrical piece featuring rain, thunderclaps and the sounds of soil being dug as a serial killer (with a nasty cold) describes why he’s digging the grave of his soon to be latest victim. It’s as hilarious as it’s downright bizarre.

All in all, it really is a fun, lighthearted album that has many surprises and highlights. But alas, a hit it wasn’t meant to be (reaching only 125 on the UK charts), although another album released on the same day did enjoy some commercial and critical success. The other album was “Sgt. Peppers Lonely Hearts Club Band” by a group called The Beatles !! So some stiff competition there.

That said, this album would have to be one of the most re-released and re-packaged albums of all time and over the 50+ years since it’s original release would have sold quite a number. Deram were to drop Bowie after this album failed in the charts but always retained rights to the album. As such, they’ve milked this album for all it’s worth again and again and again. If you were to buy it now, I would recommend the excellent 2CD Deluxe Edition, that includes both original mono and stereo mixes and a CD worth of other tracks from the same period. This years Record Store Day will also release a limited coloured vinyl version of the album, so the milking continues.

It’s worth noting some of the tracks from this period that didn’t make the original track list as there are a number of “classic” Bowie songs among them.

Did You Ever Have A Dream” featured on the B-side of the “Love You Till Tuesday” single and is a joyous ride on the wonder of dreams and how they enable you to go wherever you want to go and be with whoever you want to be with. It’s a return to the theme of dreams and a method of escape from Bowie’s then dreary south London suburbia reality.

When I’m Five” is a truly charming song, beautifully sung with the innocence and wonder of a soon to be 5 year old. It’s one of my favourites from this time period and featured on the “Love You Till Tuesday” film and soundtrack (discussed below).

The London Boys” is arguably the first truly great David Bowie song. Featured only on the B-Side of the “Rubber Band” single, Bowie was a little afraid that the drug references of a Mod trying to survive on the London streets didn’t fit the mood of the album. But it’s a fantastic song, with a performance that really does highlight what a talent Bowie would eventually blossom to be.

The Laughing Gnome” was released as a single just prior to the album and in those days, many singles didn’t make it onto the album. This is probably Bowie’s best known piece during this period, especially so as those cheeky buggers at Deram decided to re-release the single in 1973 at the height of Bowie-mania during the Ziggy Stardust period. To the undoubted embarrassment of the then glam, rock God Bowie, it was a hit and reached No. 6 on the UK charts. Featuring lots of terrible gnome jokes and sped up gnome voices,  it’s one of those songs that’s so bad that it’s almost good. It’s hard not to listen to this without the occasional smile and groan escaping. Bowie would return to the use of multi-speed vocals throughout his career, notably on classic tracks such as “The Bewlay Brothers”, “Fame” and “Scream Like A Baby”. During the 1990 “Sound+Vision” tour where fans were asked to vote for their favourite Bowie song, this got the most votes. Bowie respectfully decided against the wishes of the masses and was never fully performed.

the laughing gnome

The Gospel According To Tony Day” was the B-Side to “The Laughing Gnome” and is a song about a bunch of wankers who pretend to be friends, but really aren’t. We’ve all had some in our lives.

In The Heat Of The Morning” is a slightly more “rock” oriented song than much from this period, although strings are still predominant in the arrangement. A rather charming love song, it’s perhaps most notable as the first song ever produced by Tony Visconti, who would be such a key figure throughout much of Bowie’s subsequent career.

Let Me Sleep Next To You“, is an even rocker track, one which Bowie’s mum didn’t approve of at all as she thought is was a bit “dirty”. Always a good sign me thinks, Bowie is trying to convince a younger girl that she’s now old enough for the “pleasures” of adulthood. Hmmm, maybe Bowie’s mum had a point.

After the commercial failure of the album, Kennith Pitt decided to make a film showcasing much of the album for prospective record labels. The resultant “Love You Till Tuesday” film is a wonderful reminder of the times and is well worth watching. Bowie felt it needed a new song to highlight how he could write a hit and wrote a new song all about Major Tom, an astronaut who get’s lost in space… Trailer Here.

love you till tuesday movie

Once Bowie recorded his next album in 1969 (strangely also self-title “David Bowie”), he very rarely referred to his first album again. Around the year 2000, Bowie recorded the (never officially released) “Toys” album, where he returned to some of these tracks (including Silly Boy Blue, The London Boys, Let Me Sleep Next To You and In The Heat Of The Morning), so he didn’t entirely dismiss this period.

Although I do love this album, it’s fortunate indeed the album was a commercial flop and Kennith Pitt’s plan to mold Bowie into an all-round entertainer failed. It would have been a tragic loss to the rock world if Bowie’s career was destined to be appearances at Christmas pantomimes each year. Phew, we dodged a bullet here.

Unfortunately for Bowie, it would be another 2 years yet until “Space Oddity” would finally give Bowie the hit he had been craving and 5 years until he finally “made” the big time and become an international superstar. But that’s a story for another day.

Best Tracks: When I Live My Dream, Join The Gang, Maid Of Bond Street