Tag: David Bowie

David Bowie returned in 1974 with Diamond Dogs that was to be based on George Orwell’s sci-fi novel 1984, among other partially worked out ideas. The project sees him once again working with Tony Visconti, on a vision that creates a sleazy, post-apocalyptic future. After a spoken word introduction, the title track announces “This ain’t rock n roll, this is genocide”.  The backing vocals sounds like they are coming from underwater on the gritty fan favourite.

Through a three song suite, “Sweet Thing (Reprise)” appears as a punk/funk blast that rides into the classic single, “Rebel Rebel”.  Surprisingly, this was a top five hit in the UK but missed the top 50 in the US. Still a sure-fire dancefloor filler and a great singalong to the chorus ender, “Hot Tramp, I love you so” over a killer guitar riff from Bowie who took over the role from Mick Ronson. “Rock n Roll With Me” has a catchy chorus and more of a classic 70s rock sound.  Later, “1984” gives a glimpse into Bowie’s future sound with Blaxploitation funk on a track that was then covered by Tina Turner.

Throughout its history, Diamond Dogs has very mixed reviews.  From classic status in one publication to less than complimentary write-ups by other reviews.  It is a mixed bag of tracks that are actually quite good but right from the unappealing cover art of Guy Peellaert to the creepy spoken word introduction, it leaves a bit of a bad taste.  Still, even Bowie with a few partial ideas for an album can influence sounds later heard on punk, goth, and the dirtier/artier side of Britpop.

7/10

David Bowie started released boxsets split up by eras starting with Five Years (1969-1973) that was released in 2015 and has continued with four more sets since then. One of the selling points of the  boxes is the inclusion of compilations which mop up stray singles, alternate mixes, B-sides, etc. Re:Call 1 is a double disc affair that includes the classic “Space Oddity” in two of the first three tracks. The first in mono and the second version sung in Italian. B-side “Conversation Piece” is a psychedelic folk song about a shy boy to nervous to talk to others – “I’m a thinker/Not a talker/No one to talk to anyway”.

“Holy Holy” appears twice and is a good bit of nonsensical fun. Both “Moonage Daydream” and “Hang On To Yourself” appear in Arnold Corn versions, a band that Bowie put together as a lead up to Ziggy Stardust. The versions differ from their more familiar album versions by being slowed/stripped down takes – the former losing it’s glam/metal stomp and the latter sounding like a track from the late 50s.

“John, I’m Only Dancing” also appears twice, in its single edit and the sax version which adds a touch of that horn to great effect.  A Chuck Berry cover of “Round and Round” appears with Bowie doing his best Mick Jagger impression. The whole set is closed off with impressive B-side “Velvet Goldmine”. The track left off albums, possibly due to its risqué nature is a stomper before it slows with its piano chorus.  While there are a few skippable moments, Re:Call 1 is a terrific collection of odds and sods from Bowie’s first phase.

8/10

Recorded just over 50 years ago, the soundtrack to the D.A. Pennebaker live concert, Ziggy Stardust And The Spiders From Mars: The Motion Picture, didn’t see release until 1983.  The concert from the Hammersmith Odeon is famous for being the one where David Bowie announced to both the crowd and band that this would be the last ever show by his alter ego – Ziggy Stardust And The Spiders From Mars.

The album has several songs in common with Live Santa Monica ’72 including the guitar bursting “Hang on to Yourself” and of course “Ziggy Stardust”.  The first sound of a blip gets a warm reception from the audience as the band plays, “Space Oddity” and Bowie again includes his cover of Jacques Brel’s “My Death”. “Suffragette City” ends the main set on a high note.

The album swaps out a few tracks from the Santa Monica concert.  Instead of The Velvet Underground’s “Waiting For the Man” you get a joyous cover of “White Light/White Heat”.  “Life on Mars” gets replaced by an abridged version of “Oh You Pretty Things” that appears in a medely with the Bowie penned “All the Young Dudes” and “Wild Eyed Boy From Freecloud” that gets a big ovation from the crowd.

The 30^th Anniversary edition includes 5 songs not on the original including the full 16 minute version of “Width of a Circle” that sees the band let loose and jam. It also includes the symphonic introductions that sound like they are played on a small record player to a theatre full of Bowie fanatics. “Cracked Actor” from the recently released Aladdin Sane album is a highlight on both versions. The night closes with Bowie making his famous speech that the Ziggy band will never tour again before they play the fitting “Rock N’ Roll Suicide”.  It was a historical rock and roll night that sees the band in electric form before the curtain closes and the rug gets pulled out from underneath.

7.5/10

Released 6 months after Aladdin Sane, David Bowie released the covers album Pin-Ups as a stop gap release for the record label. The album is mostly glammed up versions of R&B hits released in the 60s while Bowie was a teenager.  On “See Emily Play” (Pink Floyd), Bowie and The Spiders from Mars (minus drummer Mick Woodmansey) add 90 seconds of psychedelia at the end. Of the two tracks originally by The Who, “I Can’t Explain” is the better one that Bowie turns into a slower, sleazy love song.  “Sorrow” (The Merseys) is another highlight.  The easy, laidback beat adds strings and horns as Bowie turns in a very good vocal performance. 

The two tracks that sound the most like original Bowie songs is “Friday On My Mind” (The Easybeats) and The Kinks’ “Where Have All the Good Times Gone”.  While Pin-Ups mostly feels like a quick, dashed off recording, it does open the listener to several tracks that may have been forgotten.  In the age of streaming, downloading the originals would make for a cracking compilation playlist.

7/10

The sixth studio album from David Bowie, Aladdin Sane, was released in the spring of 1973. The iconic lightning bolt album cover has been recreated countless times by fans and other artists, it also possibly more famous than a lot of the music contained within.  Having to follow-up two classic albums, Bowie wrote much of this album, a pun of “a lad insane”, in the US and has been referenced as “Ziggy (Stardust) goes to America”. A bit more rushed with a  glam rock stomp, the music of Aladdin Sane has a nostalgic yet futuristic feel, especially on second single and #3 UK single “Drive-In Saturday Night”.

The album can certainly rock – “Watch That Man” has horns and piano aplenty as Bowie recalls a night on the tiles in a stream of consciousness like lyrics.  Mick Woodsmansey’s drums add jungle beat behind Mick Ronson’s opening guitar lick on “Panic In Detroit”.  “Cracked Actor” is a violent, dangerous song of an actor meeting up with a  prostitute as Bowie sings, “crack, baby, crack/show me you’re real”.  Mike Garson’s piano adds a barroom feel to the cover of The Rolling Stone’s “Let’s Spend the Night Together” before the most famous song here, “The Jean Genie”, adds another flash of glam rock with a blinder of a chorus.

The harder hits can steal some of the thunder but it’s the slower tracks that really settle in.  The title track asks, “who will love Aladdin Sane?” on a song about bright young things being sent out to war. While the “The Jean Genie” is a belter, the closing track “Lady Grinning Soul” is a stunner. The atmospheric track may sound a bit like blur to 90s listeners.  It’s an incredible song once again built around Mike Garson’s piano that sounds classy and mysterious at the same time. Aladdin Sane would continue to see Bowie’s star rise with a set of songs that make it essential listening for fans of 70s rock and roll.

9/10