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Sammy Davis, Jr. Sings the Complete 'Dr. A Whole New Thing. Sly and the Family Stone. Days of Future Passed. Buffalo Springfield Again. Tangerine Dream. Magical Mystery Tour. Someday at Christmas. The Temptations in a Mellow Mood. After Bathing at Baxter's. The Amboy Dukes. Ella Fitzgerald's Christmas. The One and Only. Their Satanic Majesties Request. Songs of Leonard Cohen. A Gift from a Flower to a Garden. Anything Goes. The Look of Love.
Pandemonium Shadow Show. The Resurrection of Pigboy Crabshaw. Paul Butterfield Blues Band. Phil Gernhard and Richard Holler. George Davis and Lee Diamond. Dean Kay and Kelly Gordon. Mark Lindsay and Terry Melcher. John Phillips.
Mick Jagger and Keith Richards. Jim Dale m. Tom Springfield. Mike Petrillo and Angelo Cifelli. George Fischoff and Tony Powers. Bob Crewe and L.
Russell Brown. Cosmic Wheels - Donovan - Cosmic Wheels (Vinyl Lennon and Paul McCartney. Gary Bonner and Alan Gordon. Tom Jones m. Harvey Schmidt. Les Reed and Geoff Stephens. Lowman Pauling and Ralph Bass. Carson Parks. Ronnie Shannon. Gary Beisbier and Jim Holvay. Jimmy Miller and Steve Winwood.
Eddie Brigati and Felix Cavaliere. Ira Gershwin m. George Gershwin. Eddie HollandR. Dean Taylor and Frank Wilson. John Carter and Ken Lewis. Ritchie Cordell and Bo Gentry. Bob Crewe and Bob Gaudio. John Phillips and Michelle Phillips. Terry Cashman and Gene Pistilli.
David Shapiro. Michael Cenciarelli and Guido Guilio. Wes Farrell and Jerry Goldstein. Jackie Trent and Tony Hatch. Ray Bloodworth and L. Gerry Goffin and Carole King. Wayne Carson Thompson. Maurice Irby. Arlester Christian. Donald Addrisi and Richard Addrisi. Bill Cosbyw. Don Black m. Mark London. Isaac Hayes and David Porter. The Bowie photograph that should be here has instead been torn in two, the smaller half confined to the back cover.
Overlaid upon much of the photo is a haughty-looking cartoon figure, which stands off-center, confined to the left half Album) the front cover.
The past becomes a faded, distorted cartoon of itself Bowie as the Scary Monsters and Super Heroes of his inspiration. Having only known it as an album sleeve for much of my life, I found its true form astonishing. The LP sleeve itself is a reduction, a substitution, a diminishing of an original grandeur. He gave Bell who also did the Tin Machine II cover in a postal address in Switzerland—Bell would mail the occasional letter or postcard, to no response.
Then a call would come in. It was Bowie as a lighthouse keeper, a harbor master, making his solitary rounds over the years, but mostly existing in his absences, as he does on the cover of Scary Monsters. Talking with Bowie makes me more than unusually aware of the manifest absurdities inherent in the interview process.
Why should Bowie tell me anything at all? He has little to gain and much to lose by doing so. The promotion of Scary Monsters was relatively modest by Bowie standards. Whether by circumstance or design, he was particularly open or, at least, apparently so and retrospective.
As fascinated by his life as anyone was, Bowie precisely and coolly assessed his Seventies, which seemed like a science fiction novel in retrospect. That said, Bowie the son of a PR man, had been adept at media manipulation since he was a teenager. He could, in a flash, discern who an interviewer was, what their likely angle would be, how they could be flattered, their likely status in the publication they worked for. Most of all, what role they wanted him to play.
M: I was there and came away thinking you were sort of fascist maniac. I had found King Arthur. And a wild bit of psychological legend:. All that stuff was flying around, buzzing around the skies. I could see it. Bowie jumps around the chessboard. To be anything to do with rock and roll and to go and live in Los Angeles is I think just heading for disaster. It really is.
A few lines of thought begin here. Do you feel any—how shall I put it? I keep trying to find the Duchamp in me, which is harder and harder to find laughs …. Good Morning America3 September With a few exceptions, Bowie was charming and intriguingly vapid in his post-Seventies American TV interviews, rising to the challenge of the medium. The visual—Bowie looking like a rockabilly Eloi in a purple turtleneck before a backdrop of potted ferns—is exquisite, though.
It was designed as a positive step to make myself learn how to relate back to the real world. The best of the TV interviews of the period. I keep getting drawn back to such a logical, conservative me but it wears me out trying to fight it.
Fighting it used to lead me to that very rough, drug-oriented, forceful kind of lifestyle which makes one on edge all the time. Countdownbroadcast 16 November filmed ca. Bowie, filmed in an NYC Japanese restaurant, gives off the vibe of a charming civil servant being asked to justify some questionable expense account statements. The last great interview of the period, parts of which were used for a promotional LP, with Bowie going into each song on Scary Monsters.
Scary Monsters was a greatly unrealized album on stage, as Bowie would never perform half of its songs. More something like a month of shows in the UK and Europe, a month or two in major markets in North America, maybe a Japanese coda. The emphasis was on new hits, old hits, a few obscurities for the die-hards.
Scary Monsters was represented only by its charting singles. The rehearsal tapes show that the band had the song down well, if Bowie sounds borderline camp. A Scary Monsters track tailored for the following decade. Had the potential to be irritating on stage, and sometimes was. Its live peak wasas it suited the Earthling era well. Something was always off: the bassline, the keyboards, his vocal. Steve Goulding! They advance, stumble back; something keeps evading them but they keep scraping away at it.
Reznor confessed this to a cracking-up Bowie during an MTV interview. Who knows why Bowie pulled the track. Bowie had agreed to do a TV ad for a Japanese shochu manufacturer he needed the money, he said, adding that he thought the track would get more airplay than his singles would on radio.
Reeves Gabrels chimed in from quarantine, adding facts and color. They were surprised by how good it was. Still, mid-Nineties Bowie is getting better archived, if digitally.
A concert recording is coming soon, and earlier this year some Earthling -era odds and ends were slipped into circulation via the Is It Any Wonder?
Both were intended to be bonus tracks or B-sides. Then Bowie altered the character of Earthling at the last minute. A gimcrack knock-off version of jungle, done far past Cosmic Wheels - Donovan - Cosmic Wheels (Vinyl, holds true to the Bowie ethos. The shore at Pett Level, near Winchelsea, is steep; and covered with shingles. There is no bathing machine here; and a man should be an expert swimmer to venture in, excepting in calmer weather.
The shore at Pett Level has been a forest, a feeding ground for dinosaurs, a graveyard for ships; at the time of the Roman conquest, it slept underwater; during the Napoleonic wars and for some time afterward, the beach had eight manned, brick-built Martello towers, each a quarter-mile apart, each with a gun on its roof and a small window facing seaward.
During the Second World War, the government evacuated Pett, whose population at the time was greatly holidaymakers and beachcombers. Not far behind them rumbles a JCB bulldozer. I think video is there to be used as an art form as well as a sort of commercial device for illustration and promotion. In fact, I fell in love with video in the early Seventies when I got a Sony reel-to-reel, black-and-white thing and videoed everything and whatever. I got a small editing machine…and developed some scenarios for Diamond Dogs.
A dreadful but interesting failure. One image dated back more than a decade. Trash bins and ranges explode around him while his nurse? The other concept was a figure in an asylum, a large padded wall behind him as a backdrop. Bowie wanted to stage the Pierrot sequence on a shore, somewhere in England. It seems obvious the Pett location came quickly to mind for Mallet when Bowie said he needed a beach.
The site of evacuations and invasions, it is permanent transition. The Iron Orchid and her son sat upon a cream-colored beach of crushed bone. Some distance off a white sea sparkled and whispered…[later] Jherek noticed that the sea had turned a deep pink, almost a cerise, and was clashing dreadfully with the beach, while on the horizon behind him he saw that two palms and a cliff had disappeared altogether….
This is an Earth of the far distant future, at the tail end of time, where humanity is reduced to a decadent few who loll about in their glorious collapsing cities and freak pleasure gardens. He performs acts of purification—a sacrificial bonfire, the release of a white dove—before his dissolution.
First, in spirit: he winces in pain when a snapping photographer takes his soul ; later in body, as the Pierrot sinks into the ocean. The Pierrot walks with the children who will succeed him; he is their divine mother. The sexton machine grumbles behind them, loud and impatient, but it will bury nothing—the clown will be taken by the sea. Do this in memory of me. I will soon be nothing but old lies and air.
The making of that video was the death knell for the Blitz and in my mind for Bowie as an innovator. It was my first peek beneath the veneer of public perception and its contrast with reality. Bowie was actually a pilferer and a follower stylistically — finger on the pulse but a follower nevertheless.
By the turn of the Eighties, the scene had shifted to the Blitz Club in Covent Garden, where Bowie nights became competitive pose-offs. Bowie was naturally intrigued and visited the Blitz one night, slipping through the back door and being ensconced in an upper room, like slumming royalty. Each party had reservations about the other.
When he was in London he was always at the Blitz or at Hell. So he and Coco Schwab went on safari at the club for the most intriguing-looking numbers it suggests the opening scene of The Hunger. Strange, who was an operator himself, was an obvious pick. But there is only one snag. We have to meet tomorrow morning at 6 AM outside the Hilton to leave for the location shoot.
Her name, reportedly, was Elise Brazier and nothing has been heard from her since, as far as I know. Frankland was the costumer for the Blitz quartet. She had gotten attention for her Ravensbourne graduation collection, which had a show at Cafe Royal in London.
A sort of neo-medieval formality, as if in homage to a future that was never going to come. Court clothes for a lost extraterrestrial aristocracy, whisked together from scraps across the centuries. Lord Jagged…concocted for himself a loose, lilac-colored robe with the kind of high, stiff collar he often favoured, and huge puffed sleeves from which peeped the tips of his fingers, and silver slippers with long, pointed toes, and a circlet to contain his long platinum hair: a circlet in the form of a rippling, living 54th Century Uranian lizard.
The making of the video was a touch less romantic. Frankland recalled waking up in her bedsit in South Kensington and wondering if meeting Bowie and Schwab the previous night had been a dream, until the communal phone rang and she got instructions presumably from Schwab.
The four Blitz Kids arrived at the beach to be greeted by Bowie already in costume. Happenstance and accidents played their parts. Bowie had noticed an idle bulldozer, property of the local government, parked down the beach. A few phone calls later no doubt Schwab on the case againa local driver was rolling the machine behind Bowie and the kids.
It was difficult for everyone to keep the same pace. What I was actually doing was moving the hem of my robe to avoid getting pulled over by the bulldozer, but they decided to keep it in.
The original idea was to have the Blitz Kids only in the beach sequence, but Bowie, happy with how things were turning out, asked LP to come to Ewart Studios in Wandsworth, where interiors were being shot.
We were told to duck out and run after we had mimed our piece or we could be hurt. This was difficult in a hobble dress, so I hoisted it up as high as I could and got ready to run. Quite a sight for the superstar sat behind me. And that was it. The Blitz Kids were driven back to London and spent the night clubbing at Hell. Mallet enhanced the beach shots with solarizing effects from the brand-new Quantel Paintbox.
What did Bowie and Mallet have with it? First, it just looked cool. Fantastic-looking weirdos on a candy-colored beach, leavened by explosions. There was nothing remotely like it on American television, at least. Bowie managed, for the first time, to convey on film the sort of jump-cut, indirect narrative of his best songs—he was overdubbing a dense layer of new information upon an already-complex set of tracks the Visconti-produced master.
The sensation, watching the video, was something like the Choose Your Own Adventure books—a set of scenarios and decisions, some leading you deeper in, some killing you off. The careerist fabulousness of the Blitz Kids? A return to a falsified Fifties? A time when dreams need to be repressed, stowed away in the cellars and asylums? Bowie was winding down his Sixties and Seventies, disassembling his past, with a sense of foreboding as to what would take its place: could he have foreseen Tonight and Glass Spider?
The Eighties were going to be a serious time. The past will be burned and buried: toll the bell, pay the private eye, as Bowie later sang. Only a few exiles will be left to recall it. The future is to be found on the shore at Pett Level, near Winchelsea.
It is steep, and covered with shingles. So he struck up a conversation with Bowie, his childhood hero, and asked him what he thought the biggest moment of his career was. Why not. I hear playback and the music starts. So off I go, I start singing and walking, but as soon as I do this old geezer with an old dog walks right between me and the camera…. As he was walking by the camera, the director said, excuse me, mister, do you know who this is? I think about that old guy all the time.
Most of the Pett towers had to be abandoned due to beach erosion by the end of the 19th C. Killing a Little Time Bowie.
Perhaps this started off as Bowie considering some sort of Bill Frisell or Marc Ribot-inspired accompaniment, but the end result is Cosmic Wheels - Donovan - Cosmic Wheels (Vinyl chest-puffed-out adolescent riffing, with another guitar even harmonized two steps up in a classic cheesy Eighties Album) move. As often, Bowie had a sharp eye when watching his collaborators.
In LazarusMichael C.
Moonshine - Ian Gillan - Live In Anaheim (CD, Album), 1. Andante Sostenuto - Allegro Vivo - Tchaikovsky*, Lorin Maazel : Vienna Philharmonic* - Symphony N, Trampling Tokyo - Alan Moore - A Compilation Of Songs And Performances By Alan Moore And Friends (CD, Hindu Boogie - Hammond Olson - Hindu Boogie / Hammond Sally Boogie (Shellac), Rebel Music (Brennans Break With Pursuit Beats) - Third Stone Sound - Rebel Music (Vinyl), Its Not My Fault - Blink (2) - A Map Of The Universe By Blink (Cassette, Album), Oh Willy - Nektar - Down To Earth (8-Track Cartridge, Album), It Might As Well Be Spring - Various - Jazz District Cool Jazz (CD), ｔｏｒｉｎｏｋｏｅ （ｒｅｍｉｘ） - Various - Tribute To Les Rallizes Dénudés (CD), Miserere-Live - Andrea Bocelli - Romanza (Cassette, Album)