'Queen Bitch' is a fantastic track, Sparky, and one of my favourites too
This is from the Old Grey Whistle Test session. Great clip.
Don't think this is on the OGWT DVDs - will go an have a look.
It doesn't feature on the Whistle Test DVDs, though "Oh You Pretty Things" from the same session does.
From memory the entire session included Queen Bitch, Oh You Pretty Things & Five Years
I never realised until recently Bowie wrote Iggy Pops "Passenger" and does backing vocals on "Passenger" and "Lust for Life".
Amazing what you learn when you read the sleeve notes!
Frightened by Horror Films? - Just remember, BEHIND the camera stand even more horrifying individuals moaning about the Catering food, the hours they work and quoting Union Rules... that's just the Electricians.
There are so many great songs to choose from it's almost pointless in trying but for what it's worth here are my favourites, in no particular order except for "Life On Mars?" which I think is almost perfect:
Life On Mars? Space Oddity Starman Ziggy Stardust The Jean Genie Rebel Rebel Fame Sound & Vision Heroes Ashes To Ashes Jump They Say
You're absolutely right there, Steve. So many to choose from that I still can't decide on my top 5
The 'permissive society' doesn't exist. I know, I've looked for it - Rupert Rigsby
The title track is great - some of the other songs are better than I'd remembered.
The instrumentals are pleasant enough but lack the atmosphere and substance of those on Low or Heroes.
Although it's listed as a soundtrack the music was never used in the TV adaptation.
Sunday was Black Tie White Noise....
Again, good to revisit it
It’s got clear evidence of DB trying to be relevant and interesting again after some very fallow years.
It’s actually pretty patchy though
I’m not keen on the slick and smooth jazz funk stylings which seem to pepper the album but at least he’s showing some ambition
Tunes I particular like are Pallas Athena, Looking for Lester, and Black Tie White Noise
The Morrissey cover is horrible though I note online that some people seem to love it.
Monday was the first Tin Machine album - a record I'd barely listened to, but each time I did I found it very trying - still, had to be done
When it came out, I was alienated by it from the off
With its unreconstructed, back to basics, hard rock sound and dense arrangements it’s an unrelenting listen - plain annoying in parts
I tried to leave my prejudices at the door this time round but, after listening again, I’m still not having it
It’s only in context it makes any sense, Bowie having got the commercial acceptance he craved (albeit with diminishing returns after 'Let’s Dance') wondered if he was all washed up creatively. His response was to assemble the democratic Tin Machine - four equals, supposedly. He loved the experience, or so he said, and it seem to help him get his mojo back, so worth it in the end
‘I Can’t Read’ is unquestionably the best tune on it and it's where he lays bare his creative bankruptcy. ‘Heaven’s In Here’ is acceptable enough too and has also gone on my definitive DB playlist
Stuart Maconie once quipped, “interviewing David Bowie with Tin Machine is like getting a date with that gorgeous girl you’ve always fancied and finding out she’s brought her three ugly mates”
And to bring you up to date I spent the last couple of days with David Bowie (1967)....
Expanded version - natch + the Deram anthology
My personal faves are Let Me Lay Beside You, In The Heat Of The Morning, The London Boys, Love You Til Tuesday, Uncle Arthur, London Bye Ta-Ta, and Sell me a Coat.
I find most of the songs quite charming though, and a fascinating insight into that period when he was swimming so furiously against the tide of what was hip and happening.
I can happily listen to both albums in their entireity, which I can't say about Tin Machine or Black Tie White Noise - though most definitely can for Aladdin Sane and, to a lesser extent, Buddha.
Next up, today, it's the unreleased 'Toy' album
Bowie recorded the album Toy for release in 2001 or 2002. It was meant to feature some new songs and new versions of some of his lesser-known songs from the 1960s. Toy remains officially unreleased. In 2001, on his own site, Bowie participated on a virtual chat with fans and when one of them asked about the release of Toy, he replied: "I'm finding EMI/Virgin seem to have a lot of scheduling conflicts this year, which has put an awful lot on the back burner. Toy is finished and ready to go, and I will make an announcement as soon as I get a very real date. Meantime, I'm already started writing and recording for another album (untitled at the moment). So far I have to say it's back to experimental. But knowing me, it doesn't mean that's how it'll turn out. I shall be writing and recording throughout the summer, but daddyfying is really my priority at the moment." Tony Visconti would later say that Bowie was 'hurt terribly' by the label's refusal to release Toy and as a result, Bowie left Virgin/EMI and announced in March 2002 that he had signed an agreement with Columbia Records to launch the new album Heathen via his own ISO label instead. Several of the Toy tracks were then released as single B-sides and Bowie announced his intention to "continue to release tracks as specials for CD singles so that not too much time goes on before they are available. Then, along with all the other tracks, gather them all up an release them as an album."