The exhibition David Bowie Is, originally at the Victoria and Albert museum in London and subsequently on tour around the world, has proved an enormous success with over 2 million visitors in 12 locations. Sony Entertainment has now released David Bowie Is AR Exhibition, an app for iOS and Android that uses Augmented Reality to enable users to enjoy the exhibition at home and whenever they like.
I found the app though-provoking. I am a fan of course, so keen to see the material; and I attended the London exhibition twice so I have some context.
I tried the app on an Honor 10 AI – note that you have to download the Google ARCore library first, if it is not already installed. Then I ran the app and found it somewhat frustrating. When the app starts up, you get a calibrating screen and this has to complete before you can progress.
If you struggle at all with this, I recommend having a look at the help, which says to “Find a well-lit surface with a visible pattern or a few flat items on it. A magazine on a desk or table works well.” Another tip is that the app is designed for a table-top experience. So sit at a desk, do not try walking around and using a wall.
The app streams a lot of data. So if you are on a poor connection, expect to wait while the orange thermometer bar fills up at the bottom of the screen. The streaming/caching could probably be much improved.
Once I got the app working I began to warm to it. You can think of it as a series of pages or virtual rooms. Each room has an array of object in it, and you tap an object to bring it into view. Once an object is focused like this, you can zoom in by moving the phone. Pinch to zoom should work too though I had some problems with it.
Here is a view of the recording page:
and here I’ve brought a page of Bowie’s notes into view (note the caption which appears) and zoomed in; the resolution is good.
The clever bit is that you can move objects around by tap and drag. This is a nice feature when viewing Bowie’s cut-up lyric technique, since you can drag the pieces around to exercise your own creativity.
Fair enough, but is this really Augmented Reality? I’d argue not, since it does not mix the real world with the virtual world. It just uses the AR platform as a viewer into this virtualised environment.
The experience is good when it works, but not if you get disappearing content, endless “calibration”, stuttering videos, or content that is too small and stubbornly refuses to come into view – all issues which I encountered. It also requires a fairly high-end phone or tablet. So your environment has to be just right for it to work; not ideal for enjoying on a train journey, for example. And some of the content is literally shaky; I think this is a bug and may improve with an update.
Would it be better if it were presented in a more traditional ways, as a database of items which you could search and view? Unfortunately I think it would. This would also reduce the system requirements and enable more people to enjoy it.
It does look as if there is a lot here. According to the site:
56 costumes 38 songs 23 music videos 60 original lyric sheets 50 photos 33 drawings and sketches 7 paintings
I would love to be able to look up these items easily. Instead I have to hunt through the virtual rooms and hope I can find what I am looking for. Just like a real exhibition, complete with crowds and kids wanting toilets I guess.
David Bowie’s Welcome the Blackout, originally a Record Store Day vinyl exclusive, has now been released on CD and streaming services.
The album is excellent, a live performance taken from Earls Court London on June 30th and July 1st 1978. The tour is the same one from which the earlier release Stage was taken, but on this one both the performance and the recording is superior in my opinion. I have reviewed it based on the vinyl release here.
Now the CD is here, packaged in a tri-fold sleeve even though there are only 2 CDs. Two of the inner panels are blank black, which I guess is a design reference to the title.
You also get a fold-out with sleeve notes and a small poster, which was not included in the vinyl release. There is a a review of one of the concerts by David Hancock (first published 30th June 1978 which must mean it is of the 29th June performance NOT featured here, but it matters little). The front of the fold-out is the cover of the tour programme/magazine, called ISOLAR 2.
Apparently these extras are a limited release (though I would guess a large number has been produced). There is also an unlimited release in a standard jewel case without the booklet (as I understand it).
The sound of the CD is fine and similar to the vinyl. This is not something to take for granted, as CDs are often mastered for a louder sound at the expense of dynamics.
Recommended if you don’t have the vinyl and want a physical release.
The 21st April 2018 was Record Store Day, when the industry comes up with hundreds of special edition vinyl records which are offered for sale only through independent record shops. A helping hand for the independents, or a an attempt to con us into buying overpriced product via the old trick of artificial scarcity? Take your pick; but there’s no doubting that it gets thousands of people into record shops for at least one day in the year.
For me, the highlight this year was a 3LP David Bowie live release, called Welcome to the Blackout. Not least because it was recorded at Earls Court London on the evenings of 30 June and 1 July 1978, and well, I was there, at least on one of the nights (I am not sure which). I remember it was an amazing experience, and that the the set visuals including the vertical bars backdrop were stunning – apologies for the poor quality of the picture below, which is taken from here.
The Earls Court concerts were filmed by David Hemmings but the film was never released. However this might explain why the concerts were recorded by Tony Visconti and selected songs from the last two concerts were mixed by David Bowie and David Richards at Mountain Studios, Montreux between 17th and 23rd January 1979 (according to the sleevenotes). Two additional songs on Welcome to the Blackout, Sound and Vision and TVC 15, do not use Bowie/Richards mixes, perhaps because they were not selected at the time.
In 1978 David Bowie embarked on the ISOLAR II world tour, building on the release of Low and Heroes. The tour began in San Diego, March 1978, and ended in Tokyo, December 1978. Performances in Philadelphia in late April, and in Boston in early May, were recorded and formed the basis of the album Stage, first released in November 1978. Stage was originally just 17 songs, presented in a different order from that of the performance. In 2005 this was expanded to 20 songs, and the performance running order was restored, so that the opening track is the moody instrumental Warszawa. There was also a surround mix released on DVD Audio for a short time. Then in 2017 Stage was again reissued, now with 22 songs.
Since we already have Stage in so many guises, do we need Welcome to the Blackout? Having enjoyed this release for a couple of days, my answer is an emphatic yes. The Earls Court dates were at the end of the European leg of the tour, which did not resume until November in Australia. Bowie seems to be energised by this being in some sense the last concert of the tour and refers to this several times. He also performs two songs not on any version of Stage: Sound and Vision, and Rebel Rebel.
More important, the character of both the performance and the sound is different. There is simply more energy, and although the crowd noise is still mixed fairly low, it comes over as more of a live performance than the rather bland sound of Stage. We also get a longer Station to Station, under 9 minutes on Stage, and over 11 minutes here.
The band, the same one as for Stage, is outstanding:
Carlos Alomar: Rhythm guitar
Adrian Belew: Lead guitar
Dennis Davis: Drums and percussion
Simon House: Electric violin
Sean Mayes: Piano, string ensemble
George Murray: Bass guitar
Roger Powell: Keyboards, Synthesizer
I’ve compared several songs on Stage and Welcome to the Blackout. For example, the song Blackout itself, which is decently performed on Stage, is introduced here by Bowie saying hoarsely “Welcome to the Blackout”; the instrumentation at the beginning of the song is more menacing and engaging on the new release; the vocal is more frenetic and desperate.
In TVC 15, the opening loony voiceovers is louder and more distinct on Welcome to the Blackout; it sounds like the band is having a great time and the song is more fun to listen to.
Jean Genie is stunning on this album; the guitar growls and grinds, Bowie’s vocal is full of drama; it makes the Stage performance (only on the 2017 edition) sound tame.
Despite the occasional flub, I can’t find any instances where I prefer the Stage recording.
Of course the album is meant to be heard as a piece, and seems to me to be an excellent capture of one of Bowie’s best performances.
Having said that, this concert lacks the intensity of Bowie in 1974 or 1976. Bowie is more at ease here.
I was fortunate to catch Bowie in performance in 1978. His next tour was not until 1983, when we got a different kind of performance to support the more mainstream Let’s Dance album; and after that in 1987 with the unsatisfactory Glass Spider tour.
Full track listing:
What in the World
Be my Wife
The Jean Genie
Sense of Doubt
Speed of Life
Sound and Vision
Beauty and the Beast
Hang on to yourself
Station to Station
Finally a shout out to Ray Staff who mastered the album. On first listen he did a great job. I love the dynamics and the overall balance of the sound.
Recommended; and if you find the album hard to find at a sensible price, or don’t have a record player, there is no need to panic as it will probably be out on CD and download/streaming in a few months.
Update: Welcome to the Blackout is released on CD on 29 June 2018.
“Life on Mars?” has always been a favourite among David Bowie’s songs, and even more so since his death in January. Many have performed it as a tribute, not least by Lorde at the Brits Bowie tribute, Rick Wakeman (the pianist on the original) and Sarah Blasko.
A great song then; but one characteristic it shares with Queen’s Bohemian Rhapsody, another much-loved track, is that the lyrics are fantastically obscure, particularly in the second verse.
It’s a God awful small affair
To the girl with the mousey hair
But her mummy is yelling, “No!”
And her daddy has told her to go
But her friend is no where to be seen
Now she walks through her sunken dream
To the seats with the clearest view
And she’s hooked to the silver screen
But the film is a sadd’ning bore
For she’s lived it ten times or more
She could spit in the eyes of fools
As they ask her to focus on
Sailors, Fighting in the dance hall
Oh man! Look at those cavemen go
It’s the freakiest show
Take a look at the lawman
Beating up the wrong guy
Oh man! Wonder if he’ll ever know
He’s in the best selling show
Is there life on Mars?
It’s on America’s tortured brow
That Mickey Mouse has grown up a cow
Now the workers have struck for fame
‘Cause Lennon’s on sale again
See the mice in their million hordes
From Ibiza to the Norfolk Broads
Rule Britannia is out of bounds
To my mother, my dog, and clowns
But the film is a sadd’ning bore
‘Cause I wrote it ten times or more
It’s about to be writ again
As I ask you to focus on
Still, while Queen’s effort may veer towards pomp and nonsense I have nothing but respect for Bowie’s lyrical craftsmanship. I think we will struggle to make perfect narrative sense of the song but nevertheless there may be some insights to be had.
What does Bowie himself have to say about it? The back cover of Hunky Dory, the album from which the song comes, states “Inspired by Frankie”, a reference to Frank Sinatra. The contemporary advertisement for the album adds more handwritten notes on the song, this time “A sensitive young girl’s reaction to the media.”
Then there are the notes on the song for the 2008 iSelect compilation:
This song was so easy. Being young was easy. A really beautiful day in the park, sitting on the steps of the bandstand. ‘Sailors bap-bap-bap-bap-baaa-bap.’ An anomic (not a ‘gnomic’) heroine. Middle-class ecstasy. I took a walk to Beckenham High Street to catch a bus to Lewisham to buy shoes and shirts but couldn’t get the riff out of my head. Jumped off two stops into the ride and more or less loped back to the house up on Southend Road.
Workspace was a big empty room with a chaise lounge; a bargain-price art nouveau screen (‘William Morris,’ so I told anyone who asked); a huge overflowing freestanding ashtray and a grand piano. Little else. I started working it out on the piano and had the whole lyric and melody finished by late afternoon. Nice.
Another key reference is this interview from around 2002, specifically about the making of “Life on Mars?”
In this interview, Bowie tells the story of how he was asked to write an English lyric for a French song, called Comme D’Habitude (rough translation, “As Usual”).
The original song, entitled Pour Moi (“For Me”) was written by Gilles Thibaut (lyrics) and Jacques Revaux (music) and offered to singer Claude François. The lyrics and music were adapted by all three, renamed Comme D’Habitude (rough translation, “As Usual”), and the song became a break-up song related to the ending of the relationship between François and the young Eurovision winner France Gall.
Bowie translated the song as Even a Fool learns to Love, and you can hear a snippet of his version in the interview above, but François rejected his lyrics. (Bowie adds that it was “a godawful lyric. Dreadful”).
Comme D’Habitude describes a relationship near its end; he is still in love but they see little of one another as he goes to work before she gets up (“Quietly I leave the house. Everything is grey outside. As usual”) and is in bed before she returns. “All alone, I’ll go and lie down in this big cold bed, as usual”. They make love but he is “playing at pretending”.
Bowie translated the song as Even a Fool learns to Love. His version is also about a relationship gone sour, but tells the whole story, about a man who is the life and soul of the party (“a fool”), meets a girl, falls in love (“a clown and an angel so much in love”), but the joke “turns stale” and the time when even a fool learns to love becomes a “sour time”.
“The next time I heard it, it was My Way by Frank Sinatra,” says Bowie. François had rejected his lyrics, and Paul Anka had come up with My Way.
“I was really pissed off. It should have been my song. So I thought, OK I’ll write my own version. So it’s My Way on Mars,” says Bowie.
“Inspired? It was more revenge.”
“Life on Mars?”, while not exactly a relationship song shares with Comme D’Habitude a sense of discontent with life and reflection upon it.
Actually the opening lines do suggest a relationship “a godawful small affair”, one that is unacceptable to mum and dad. The girl goes out, like the man in Comme D’Habitude, into a grey and sad world. Her friend (boy or girl?) cannot be found.
Bowie’s song then departs from the script, exploding into a kaleidoscope of images as the mousy-haired girl stares at the cinema screen. Yet this does not rescue her: she sees clearly that the fantasy world of entertainment will do nothing to change the greyness of her world. Mickey Mouse is not a real friend; he grows up “a cow” and whatever that means it is not flattering.
The song becomes surreal as Bowie plays with reality.
The girl is watching the film. The girl is living the film. The girl’s life is a film. The girl, or the narrator, wrote the film. The film is being “writ again” as we are trapped in our humdrum lives. “A sensitive young girl’s reaction to the media.”
Is there Life on Mars? Wait a moment, how did Mars get into this song? Bowie is playing with us of course. Let’s look at a few shades of meaning:
2001 A Space Odyssey, part inspiration for Space Oddity, “look at those cavemen go”, and note the little quote from Also Sprach Zarathustra as the song fades. The film’s central character goes to Jupiter not Mars, but hey, it’s all space; and like Space Oddity, inner space as much as outer space. Is there life there? Maybe, but it’s pretty desolate.
Life on Mars is a B movie too, cheap sci-fi. It’s escapism but not life, not real life.
Is there life on Mars? is a question of yearning, because there is no life on earth, or it seems that way in our most desolate moments.
Bowie tells us that this kind of interpretation is not too far off. In 1998 he was interviewed by Alan Yentob for the BBC, in a kind of follow-up to Yenton’s earlier documentary Cracked Actor.
David Bowie telling Alan Yentob about Life on Mars
“She may be an ordinary girl,” says Yentob, “but isn’t she as alienated as any of your other characters?”
“I think she finds herself let down,” Bowie replies. “I think she finds herself disappointed by reality. I think she sees that although she’s living in the doldrums of reality she’s been told that there’s a far greater life somewhere, and she’s bitterly disappointed that she doesn’t have access to it. It’s very hard to think back to one’s state of mind 25 years ago. I guess I would feel sorry for her now, I think I had empathy with her at the time. That’s probably the difference.”
When asked in the 2002 interview referenced above about whether the song is about alienation, he says:
“A lot of it is. One’s interior kind of isolation as well. It doesn’t just mean one’s social isolation, it can mean how you get in contact with your own feelings. It can be quite personal in that way.
“My subject matter hasn’t really changed over the years. I’m still in a way writing about life on Mars, all these years later. (Laughs). And the man who sold the world … the way that I present songs has changed a lot. And the style for each album has changed considerably. I’ll often try new rhythms and kinds of arrangements. It’s like, I want to keep writing about the same subject but my approach, it’s like I’m trying to get into it, like finding a different door each time I approach that same subject.”
Can we go further, and examine the lyrics with more precision? It is difficult because the song is deliberately surreal; yet there are intriguing connections which may or may not be intended. Is it Lennon (“Power to the People”) or Lenin who is on sale again? Bowie with his love of word play likely intended both meanings.
What about “The workers have struck for fame?” In 1941, there was a famous strike by Disney’s (“Mickey Mouse”) animators. One of their grievances was lack of credit for their work:
“To add insult to injury, the animators weren’t featured in the credits of the film, with all credit going to the owner of the studios himself, Walt Disney.”
Bowie however did not want to explain everything. Mick Rock, who worked with Bowie on a video for the song, says:
I would not be so presumptuous as to try and put any meaning on it. Certainly David Bowie never has as far as I know. I don’t know what it means. But it means a helluva lot to me, it’s like a poem by Rimbaud, say, what does it mean? Intellectually it is very hard to define. You can only say, I love it.
I would not go so far as Rock; Bowie has given plenty of clues about his intent in writing the song. At the same time, he enjoyed leaving room for the listener’s imagination and participation, referring to the French painter Marcel Duchamp and approving in this interview with Jeremy Paxman:
The idea that the piece of work is not finished until the audience come to it and add their own interpretation, and what the piece of art is about is the grey space in the middle.
However you look at it though, it is a pretty gloomy lyric. Why do we like it? Well, it is witty, it is evocative, it is mysterious; and the music absolutely soars, complete with unexpected key changes and a near-octave leap from “on” to “Mars”. Like all the best music, it takes us out of ourselves to another place and makes our reality a little less grey than it was before.
Thanks to members of the Steve Hoffman Music Forum for assistance with puzzling out this song, and to author Nicholas Pegg for the source of the quote from the Yentob interview, which he also references in his book The Complete David Bowie.
I’ve always liked this song, which appears on Bowie’s 1972 album Hunky Dory, but never fully understood it. Recently I’ve given it some further thought and music forum discussion. Here are the lyrics:
Hear this Robert Zimmerman I wrote a song for you About a strange young man called Dylan With a voice like sand and glue His words in truthful vengeance Could pin us to the floor Brought a few more people on Put the fear in a whole lot more
Ah, Here she comes Here she comes Here she comes again The same old painted lady From the brow of a superbrain She’ll scratch this world to pieces As she comes on like a friend But a couple of songs From your old scrapbook Could send her home again
You gave your heart to every bedsit room At least a picture on my wall And you sat behind a million pair of eyes And told them why they saw Then we lost your train of thought The paintings are all your own While troubles are rising We’d rather be scared Together than alone
Ah, Here she comes …
Now hear this Robert Zimmerman Though I don’t suppose we’ll meet Ask your good friend Dylan If he’d gaze a while down the old street Tell him we’ve lost his poems So they’re writing on the walls Give us back our unity Give us back our family You’re every nation’s refugee Don’t leave us with their sanity
Ah, Here she comes …
In a full-page advertisement for Hunky Dory at the time, Bowie offered some handwritten notes on the songs, and for this one he wrote “This is how some see B.D.” – perhaps distancing himself a little from the song.
I am a big Dylan fan and for me the song represents a kind of interaction between two heroes, albeit one-sided. The phrase “a voice like sand and glue” seems to me a neat summary of how some hear B.D. and the ability to get past that into the beauty of his songs and performances is a kind of shared secret among Dylan fans.
I also like Bowie’s vocal performance which captures something of Dylan’s nasal, scratchy voice but without descending into full-blown parody.
That said, there have always been things that puzzled me. Who is the “painted lady” and why does she “come on like a friend?” Since this is the chorus, it is emphatic, but I didn’t have a clue what it was about. And why do we not want the “sanity” of “every nation’s refugee” in the last verse?
An aside on critiquing Bowie’s work
As an aside, its worth noting that although Bowie has attracted reams of prose about his work, very little of it examines such puzzles. In general, pop lyrics are not treated very seriously, and if a song does not quite make sense, most of us just shrug if we even think of it at all.
Bowie himself used a cut-up technique for some of his work, in which words are rearranged to make new texts, and you might reasonably conclude that that the resulting output is unlikely to make sense in a conventional manner.
Despite the above, it seems to me that Bowie took great care over his lyrics and I am constantly finding new shades of meaning in his work. He also loved word play, as noted by his friend Brian Eno after Bowie’s death:
“I received an email from him seven days ago. It was as funny as always, and as surreal, looping through word games and allusions and all the usual stuff we did. It ended with this sentence: ‘Thank you for our good times, brian. they will never rot’. And it was signed ‘Dawn’.
"I realise now he was saying goodbye."
I do believe therefore that the lyrics deserve more attention than they usually receive, even though it means digging into Bowie’s interests in the arcane and occult, for example, which can be both demanding and uncomfortable.
Two writers deserve a shout-out here for doing a lot of this spadework. One is Nicholas Pegg, author of a book called the Complete David Bowie (now being revised) which is full of excellent research.
The other is Chris O’Leary, whose song-by-song site Pushing Ahead of the Dame and associated books are also thoughtful and full of insight.
Song for Bob Dylan
Back on point: what is this song about? It is part tribute and part open letter to Dylan, the central thought being that the man who once effortlessly created “words of truthful vengeance” has gone off in a different direction – and we need him back.
Bowie I suspect knew this to be a rather narrow view, hence his note “this is how some see B.D.” allows for other perspectives.
Dylan began his career as a folk singer, with songs of “protest” that spoke out against injustice, racism and war. He went electric in 1965, escaping the “protest singer” box but not without backlash. Then in 1966 he had a motorcycle accident and went into a kind of retreat, emerging in 1967 with gentler-sounding albums like John Wesley Harding and Nashville Skyline, more country than folk or rock. Dylan’s ill-received 1970 album Self Portrait used his own child-like painting of himself on the cover; “your paintings are all your own.”
In 1971 then, when Bowie was writing Hunky Dory, Dylan seemed to have lost all interest in reforming the world as well as settling for a less energetic style of performance, losing it seemed the incandescent power he achieved on albums like Highway 61 Revisited and Blonde on Blonde.
The stage is set for Bowie’s song. The first verse is straightforward, setting the scene; but then we get the painted lady. Who is she?
A “painted lady” is slang for a prostitute; but as Pegg observes, this is also a reference to Athena, the goddess of war (among other things) in Greek mythology. The 5th century BC Greek poet Pindar writes:
"from the cleft summit of her father’s brow Athene sprang aloft, and pealed the broad sky her clarion cry of war"
There are also other references in Greek mythology to Athena being born from the forehead of Zeus and emerging fully-clothed.
Athena, in other words, was born from the brow of Zeus, god of thunder and ruler of the Olympian Gods, the “brow of the superbrain.”
In this context Athena seems to represent mankind’s sad tendency to be seduced (“painted lady”) by war and to “scratch this world to pieces”; Bowie appeals to Dylan to “send her home” by returning to his potent songs of protest.
Bowie is always inclined to the apocalyptic and the idea that “troubles are rising” and the world being “scratched to pieces” is nothing strange to him.
Bowie plays with identity in the last verse, addressing Robert Zimmerman, Dylan’s proper name, and asking him to bring back the Dylan persona. Bowie knew all about personae, “David Bowie” being in some ways a creation of David Robert Jones, his own proper name.
What about the final couplet:
You’re every nation’s refugee Don’t leave us with their sanity
Dylan may not be a refugee as such, but is on the side of the refugees, that much makes sense. But where does sanity come in?
Bowie’s view of sanity may not tally with our own. His family had a history of madness, his brother was in an asylum, and in his earlier song All the Madmen he explored the idea that society’s division between sane and insane may be arbitrary. “I’d rather stay here, with all the madmen, I’m quite content they’re just as sane as me”.
Sanity then is not necessarily better than insanity; but the couplet is still odd. One suggestion I’ve heard is that “their” could refer to the nations, not the refugees.
I’ve found three performances of Song for Bob Dylan, one on Hunky Dory, one a rehearsal for a John Peel session where it is sung by Bowie’s friend George Underwood, and one from a 1972 live performance. In all three cases the word “their” is not clearly articulated. It could be “our sanity” or even “insanity”. Printed lyrics are not always correct. If it is “our sanity” it might mean, don’t leave us with the sanity that drives us to war.
Song for Bob Dylan is a good song but not wholly satisfactory. Dylan stopped being a protest singer way back in 1964 or thereabouts and there is an uncomfortable sense that Bowie is inviting another artist to regress; perhaps this is what made him hesitant about the song in his notes.
I still like the song though. I can’t think of any better songs about Bob Dylan.
I was broken-hearted when David Bowie died in January; but grateful that he left us with one of his finest works, the album called Blackstar or possibly just ★.
I had pre-ordered the CD but soon realised that I would have to get the vinyl. The cover design is different. The CD has a black star on a white background.
The vinyl on the other hand has a black cover with a cut-out opening onto the black vinyl inside.
The cutout hole is like a wound, no coincidence. The fragmented star symbols below spell Bowie. Great work from designer Jonathan Barnbrook.
As a piece of art it is beautiful and powerful, as an album cover it is highly impractical. The cutout star shape is easily bent when you shelve the record, and the transparent plastic inner sleeve is not ideal for protecting the vinyl.
I have even heard it suggested that this is deliberate, the fragility of the package echoing the fragility of life.
In addition there have been quality control issues. Some reissues have a horrible soft PVC inner sleeve that clings to the vinyl and seems to damage it, causing swooshing noises. Others are just rather noisy. You are doing well to get one that plays perfectly on both sides.
I am on my second copy and it is not perfect, but what I found most surprising was how much better it sounds than the CD.
Play Lazarus: the vocals are more real, the bass more dramatic, the wind instruments more sonorous and eerie.
I am curious about such things, and made a 24/96 digital copy of the track. It still sounds better than the CD, though something is lost in the copy. One reason – probably the main reason – is that the CD is “brickwalled”, that is, compressed for maximum loudness at the expense of dynamic range. Here is the view of the Lazarus track on CD in Adobe’s Audition CC:
And here is the vinyl:
That CD waveform is tragic; all the wide dynamic range of which CD is capable wasted for no good reason.
The vinyl is better in part for technical reasons; you cannot max out vinyl in the same way.
It is also intriguing to see frequencies above 30K in the vinyl (not that you can hear them).
Still, the bottom line is that it does sound better, especially if you hear the vinyl directly.
Recommended, despite the fragility and imperfection of the medium.
In January 1972 I started at a new school. I had enjoyed pop music on the radio but it was here that I gradually became aware of things called albums, records with other-worldly sleeves and amazing propulsive music. I wanted them.
It look a while to get a record player of my own so I started with cassettes – taping everything I could find.
In April 1972 a single was released, Starman by David Bowie. It was catchy, it was extraterrestial, it was about listening to the radio at night (just like I used to do), it was about letting the children boogie, I loved it.
Moving on to the Ziggy Stardust album, Bowie became special to me. Looking back I am sure it was because I felt a bit of a misfit and Bowie’s music and image was about acceptance and celebration of oddness, as well as exploring sexuality in ways that were appealing and mysterious to innocent young things like myself.
I kept the faith through Bowie’s ch-ch-changes, Ziggy Stardust’s retirement, the fractured world of Diamond Dogs, the strangely downbeat David Live, the funk of Young Americans, train noises and Earl Slick’s frantic guitar on Station to Station, sombre electronica on Low, and then the unforgettable “Heroes”, love in the shadow of the Berlin wall.
Bowie had his difficult middle period for sure, but was always interesting. He was an actor as much as a musician and one of the acts he performed was himself; with Bowie the difference blurs.
His work shows a deep interest in what it means to be human; he’s content that the madmen “are just as sane as me” (with all the ambiguity that implies), his writing on outer space is also about inner space because if you imagine yourself “out there” you have nothing but yourself for company.
Bowie had huge artistic courage. I much regret not seeing his 1995 “Outside” tour when apparently some audience members walked out because he focused on his dark new material and not greatest hits.
That said, I was fortunate to see Bowie in concert on several occasions, starting with Earls Court in 1978, and including Milton Keynes Bowl 1983 and (most memorably) Nottingham’s Rock City in August 1997.
Some Bowie memorabilia from my attic
This last was the closest I got to the man, playing in a small 1,500 capacity club venue and standing fairly close to the stage. He performed a long set with many of my favourites, the darker side of Bowie, starting with Quicksand from Hunky Dory “I’m sinking in the quicksand of my thought” and including I’m Afraid of Americans, Fashion, Fame, Under Pressure, White Light White Heat, and much of Outside.
Late period Bowie is more of an acquired taste than his early years but rewarding. I found The Next Day in 2013 moving and when he sang “Where are we now” of course I was transported back to my schooldays and asking the same question of myself.
Bowie was reclusive in his later years, especially after being injured on tour in 2004, and lived quietly in New York.
Today’s news brought the news of his death, “after a courageous 18-month battle with cancer” according to his son Duncan.
This means that he composed his just-released album Blackstar in full knowledge of his illness and perhaps anticipating departure.
The song Lazarus, accompanied by a New York musical of the same name, seems particuarly to the point.
“Look up here, man, I’m in danger I’ve got nothing left to lose I’m so high, it makes my brain whirl Dropped my cell phone down below Ain’t that just like me?
This way or no way You know I’ll be free Just like that bluebird Now, ain’t that just like me?”
Other lyrics on the album have new significance today, like these from Dollar Days:
“If I’ll never see the English evergreens I’m running to It’s nothing to meet, it’s nothing to see I’m trying to I’m dying too”
Bowie made his ending an artistic moment and one that is not without hope – Lazarus rose again after all – but also, like all his best work, full of ambiguity.
The David Bowie exhibition at the V&A in London is stunning. It has been on since 23rd March and remains until 11 August, but advance tickets sold quickly which is why I ended up on an overflow date: Sunday evening when the rest of the museum is closed. Setting the scene outside is some faded pavement art including the iconic “Heroes” pose. We went in through a side door, along a corridor, and to the exhibition entrance to pick up the Sennheiser headphones and wireless receiver; these detect where you are and provide appropriate music and commentary.
The sound was excellent overall though the technology not quite perfect, particularly towards the end where the concert soundtracks seemed a bit mixed up, but no matter.
There are several kinds of exhibit:
Writings and occasionally paintings by Bowie and others – including handwritten lyrics, sometimes with variations and corrections
Album artwork and outtakes
Stage sets, some sketched, some 3D models
Books and posters that influenced Bowie or capture his era
The standard of the exhibits is excellent, with many things that I (as a reasonably well informed though not quite obsessive fan) had not seen before. It started well for me with a handwritten note about 1. Outside, which starts:
What Eno and I are endeavouring to do with this album is, by means of the loosely knit story line and characters, create a textual and musical diary that will record feelings and fears as we approach the end of the millennium.
The visual layout of the exhibition (along with the audio soundtrack) is key to its appeal. I would describe it as appropriately fractured, with clever use of light and shade, and splashes of bright colour to offset the monochrome of the many handwritten or typed documents.
I was expecting a plentiful array of stage costumes, and there is, but at no point does this feel like a costume exhibition. The costumes are positioned for dramatic effect, many of them high up, and form a kind of backdrop to the other exhibits.
The popularity of the event means that you cannot proceed quickly, especially as it takes time to read and take in many of the exhibits. This might even be a good thing, forcing you not to rush. According to the organisers, most people take around 90 minutes to look round; I took a little longer.
I was pleasantly surprised by the demographics of those attending. There were plenty of visitors in their twenties and thirties, who had not been born when Bowie was strutting his stuff as Ziggy Stardust, which made me wonder how they had encountered his work.
It was intriguing to see some of Jonathan Barnbrook’s alternative designs for the cover of The Next Day, Bowie’s most recent album. The final version shows a white square blanking much of the sleeve of “Heroes”; alternates show subverted cover art based on Pin Ups and Aladdin Sane as well as a different take on “Heroes” using an overlaid bright red patch with the lettering “Where Are We Now?” showing through; perhaps that one was intended for the single.
The film section includes part of the Elephant Man show in New York, in which Bowie gives a superb, heart-rending performance. I hope that a whole show exists on film and that we get to see it sometime.
The large room at the end is where you see and hear concert footage including some rarities, such as Sweet Thing from the Tower Philadelphia in 1974 (the David Live concerts). This is where the audio went slightly wrong for me which was a shame; but I did enjoy watching and hearing the end of the famous Ziggy retirement concert in great quality. “Not only is this the last show of the tour … it’s the last show … that we’ll ever do.” Cue wailing and tears; apparently even the band did not know in advance. What a showman.
Make sure you catch this before it finishes. Although advance tickets are sold out, some are released each day if you turn up in the morning.
Why is the arrival of a new song from David Bowie so moving? Several reasons.
First, the surprise of it. A decade in reclusive retirement, the inevitable rumours of ill health, little prospect of anything new, and then this, not only a song, but an entire album is in the can.
Second, the song itself. Cover designer Johnathan Barnbrook writes:
The song Where are we now? is a comparison between Berlin when the wall fell and Berlin today.
which has some authority since he worked with Bowie, but of course it is more than that, it is about Bowie then and now, and for those of us who grew up with this music, about ourselves then and now.
It is not a happy song, mournful and uncertain about the future (the song title ends with a question mark) but it is not an unhappy song; Bowie seems more at peace with himself than in the past.
I love the song and expect to play it frequently for a while.
Never forget though that this is art and comes from one skilled at hiding in plain sight.
Much respect for Bowie that is able to be his age (like Leonard Cohen) rather than re-enacting his youth (like Mick Jagger).
The cover of the album is also striking.
Do read Barnbrook’s questions and answers from the link above for some insight into why it is as it is, for example:
Obscuring Bowie’s image is also reference to his identity, not only in the past when he changed endlessly but that he has been absent from the music scene for the past ten years. Was this an act to hide his identity or that he has simply become more comfortable with it?
I am a big David Bowie fan (as I guess will be most purchasers of this CD) and first noticed Garson’s work in the magnificent, edgy accompaniment to Aladdin Sane – specifically, that track, though he makes a great contribution to the entire album.
Garson played on many of Bowie’s albums, from Ziggy Stardust through to Reality, and made a key contribution to the sound. I particularly like his work on David Live, Bowie’s live album from 1974, but it is consistently good, which is no doubt why he remained part of the band.
This CD is I guess a kind of tribute and reflection on his work with Bowie; one of the tracks is actually called Tribute to David. Garson performs solo piano variations on a number of Bowie’s songs. Note that these are variations, not performances as such, and since Garson is a creative jazz pianist they really are variations; in some cases it takes a while to work out what the song is, even if you know Bowie’s version well.
The performance is excellent, and the recording quality is outstanding. Nevertheless I was a little disappointed; found it a little too mellow and smooth for my taste. Perhaps Garson needs the interplay with the band to spark that edgy quality that I love.