David Bowie

ARTICLE ABOUT David Bowie FROM SOUNDS, August 14, 1971

At the time of this article, David Bowie had released three albums without too much success. In December of the year 1971 he would release his fourth album, Hunky Dory, his most successful album yet and an album that would be recognised as one of his best. His signature song “Life on Mars?” would feature on the coming album, a song that may be one of music history`s most recognisable among the millions of songs created.
Great work there, Mr. Bowie.

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Confessions of a disillusioned old rocker

By Steve Peacock

In something like rock, which is dominated at the moment by people who are either concerned with gaining respect and recognition for the validity of their intentions or with defining the problems within and around itself, the odd clown doesn`t come amiss. You have to be able to laugh at yourself, and if you don`t there has to be someone around to give you`re pretentions a bop with a purple pig`s bladder – otherwise you never find out which are pretentions and which work.

INSANITY

But the trouble with most of the rock and roll clowns is that they rarely relate too much to rock and roll – like Freddie and the Dreamers, who were basically stand-up comics with music. The Bonzo Dog Band worked, because they mixed their insanity with perfect parody and a sharp insight into the subjects they chose to ridicule; if you heard them doing a blues or something, it was so right that it helped you step back and revalue all those white suburban bands singing about the cottonfields.

INFLUENCED

In a slightly different way, David Bowie works on the same principle. Listening to the tracks he has recorded for his next album and seeing him on stage, you know that he is a writer and performer of considerable skill; but off stage Bowie the person has no illusions.
“I`m not writing very deeply at the moment,” he says as he sits in the opulent surroundings of his manager`s office in Regent Street. “I`m just picking up on what other people say, writing it down, and making songs out of it. I`m not thinking for myself any more, because I decided that everything I write sounds very much like what everybody else writes. So I decided to cut out the middle-man – me – and go straight to the source of what I`m talking about.
“I`d rather retain the position of being a photostat machine with an image, because I think most songwriters are anyway: I don`t think there are many independent-thinking songwriters, they`re all very heavily influenced, far more than in any other form of writing.”

DISPOSABLE

Because it`s such a fast-moving thing? “Because it`s such a disposable medium, that`s why. Because you can say things and if they`re not studied or talked through great analytical study, they`ll survive for a few weeks and seem quite prophetic, and quite studied and deep. That`s the fun of the pop-biz, it`s so un-serious and un-together – an art form of indifference, with no permanent philosophy behind it whatsoever.
“I don`t listen to rock music, you see. I`m not very musical and I find music just a platform for my own fringe lunacies of thought. I think very methodically and very much like anybody else off stage – in quotes – but on stage I just give it the benefit of the doubt and give it everything I`ve got that happens to be tucked away in the recesses of my mind. My songwriting is certainly not an accurate picture of how I think at all.”

ORDINARY

Was there any way he felt he could present such a picture? “It`s not really worth it because I`m incredibly ordinary. I don`t think that people want to pay good, hard-earned, capitalist money to know what I really think. In fact I don`t know why you bother with me when you`ve got John Lennon who is an astounding person – I mean as a guy; possibly the last remaining existentialist that`s around, definitely not a hippy, could possibly be a beatnik. He`s old school, and I adore him because of that, because I`m very influenced by the old school. My brother turned me on to all that – Kerouac and all those – before… before flower-power hit me.” He laughs at the memory.
“You see, I always thought life was wonderful, I didn`t realise everything was so bad until everybody told me. They`re all so serious today.”

LOT OF FUN

So why was he in it at all? “Well I`m not you see, I`m in the very fortunate position where I don`t consider myself in music, so I don`t have to worry about who I compare with or who I`m like, because I`m not like anybody else. So I have a lot of fun just being me. I don`t study it, and I`m not an avid follower of anything much. I never have wanted to consider myself in the rock business too much.”
He feels he`s in a good position, with managers and people who pay his rent and expenses so he can spend time with his wife and child, write songs, make records, and generally mess about doing things that interest him at the time. He wouldn`t say that the idea of dedicating himself to rock music, gigging every night and doing all that bit, appealed to him.

DRUGS

“It must be increasingly obvious,” he says, “that it`s just a road to nowhere. It`s become the new extension of factory work, or no-one joins the army any more, you join a group, and you have roadies that are sergeant-majors and you go out on fatigues to gigs, and wear a uniform. And our Achilles heel is our brainpower, which is practically non-existent, and centres entirely around sex and drugs. I understand it`s very lucrative if you make it.”
Once upon a time, David Bowie was a rock and roll singer. He didn`t much like singing other people`s songs, though he doesn`t mind now, so he started writing his own. So he was a songwriter.
“I suppose I`m a disillusioned old rocker. I`m sure that if I`d made it I would have adored it all – all the gold lame and everything, it would have been fabulous. Then I found myself in a mime company, that made me a clown, and I came out of it a clown/songwriter.”

Bowie

I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Alun Davies, Roger McGuinn, Rev. Gary Davis, Judy Collins, Ottilie Patterson, Gentle Giant, Black Sabbath, Moby Grape, Henry McCullough, Marc Bolan, Yes, Led Zeppelin, Family, ELP, Jethro Tull, Grease Band, Osibisa, Strawbs, Pink Floyd, Mimi Farina.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

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ARTICLE ABOUT David Bowie FROM SOUNDS, JULY 31, 1971

Just a short one today. This time a really early live review of Mr. Bowie.
Busy with work, but trying my best to have the time to work out these posts. I like them a lot myself!

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Bowie`s wide range

By Steve Peacock

I`m not quite sure what I expected from David Bowie`s set at the Country Club on Wednesday, but I wasn`t prepared for such a wide range of ideas – with songs ranging from his own “Oh You Pretty Things” to Jaques Brel`s “Port Of Amsterdam” – all put across with a sense of purpose and conviction that would have been unusual even in someone who had far less to say. That Bowie can be so convincing with such a wide range of ideas means he is either a superb actor or a performer with a remarkable command of his art. I think the latter is nearer the truth.

Technically there were a few problems – like long breaks between songs, which got a bit tedious, and the fact that the balance was wrong so that when Mick Ronson played acoustic guitar you couldn`t hear him too well – but overall those things were pretty insignificant. Ronson seems to be the perfect foil for Bowie. Playing electric and acoustic guitars, bass, and singing; his electric guitar work was particularly impressive – delicate and sympathetic, but still projecting well – and their voices are well matched.
Rick Wakeman joined them for a few numbers on piano, and it was nice to hear him filling out the sound rather than launching into the flash displays of technique that the Strawbs` music often seems to demand from him.

Songs I enjoyed most were the opening “Fill Your Heart”, “Oh You Pretty Things”, Biff Rose`s “Buzz The Fuzz”, Ron Davies` “It Ain`t Easy”, and David`s song to the shadow of a superhero “Bob Dylan”. But it was his version of Brel`s “Port Of Amsterdam” that I felt was the most satisfying part of the set; it`s a great song of course, which helps, but as Scott Walker has shown it is one that is quite easy to destroy with an unsympathic performance. Bowie did it just right.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Rolling Stones, Boz Scraggs, Beach Boys, Bill Chase, Lincoln Fair, Medicine Head, Tim Hardin, John Schlesinger, Blind Boy Fuller, Michael Chapman, Dion, John Lennon and Yoko Ono, Jackie Lomax, Andy Fernbach, Mary Travers, Buffy St. Marie, Steeleye Span, Chris Barber.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Mick Ronson (Ian Hunter, Mott The Hoople, David Bowie) FROM New Musical Express, April 24, 1976

When you look at the people Mr. Ronson played with in his life, you have to be a little impressed. In many ways I feel that he is not given the credit that he deserves when you look at all the big name musicians that wanted to play with him. When people speak of great guitarists he is seldom mentioned, but he definitely had something that attracted so many others to his services. He had the talent, but he may have lacked the drive to be as good as his talent permitted. As this interview may give an indication of.

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The RONSON you give will always remind him of you

or more likely he`ll smash it. Read how Dylan`s old buddy breaks his guitars… then blows out his amp… then blows out his fuzz box. He does not, however, blow out his baked beans.

By Neet O`Noser

The rumours started circulating around Saturday evening, passed on secretively by several Hollywood groupies and a handful of “in” people.
By Sunday the circle of confidants had expanded to include the press and by Monday everybody knew except those too old to care or the too young to know. That evening at Channel 4 in Burbank (shooting home of the television show Midnight Special) Mick Ronson, Carmine Appice, Tim Bogert, Albert Lee, Bo Diddley, Mark Steiner, Barry Goldberg and Roger McGuinn would be teaming up for a super jam to be filmed and televised at a later date.
The audial possibilities alone seemed staggering, and though that evening`s taping never made the legendary mark it was still… uh… interesting.
Backstage, Mick Ronson raced around looking for a cup of coffee. Dressed in ill-fitting Levis (they were too short; evidently he does not realise this look went out in the 50`s and that floor-level fit is now the cat`s meow), white tennis shoes and T-shirt, he presented the perfect antithesis of the Bowie/Mott/Hunter days when silk scarves and high shoes made up his tout ensemble.
It all fits in with his current pre-occupation with Bob Dylan and the American Way in general.
For the ex-Spider, the Rolling Thunder Revue has been like a breath of new life; his most recent work with Ian Hunter was disastrous and the call from Dylan was as welcome as a message from the Messiah.

Mick has finally landed the coffee, and with face made-up for the taping, chats about the Dylan episode.
“It`s so fresh, it`s just like I`ve started playing again. It`s like I`ve got to learn how to play again… it`s that kind of feelin`. And it`s real refreshin`. But I don`t want to put aside the things I`ve done because they`re valuable.”
Ronson is ushered on to the stage along with the rest of the band and immediately Tim Bogert and Carmine Appice break into a breakneck version of the Beck, Bogert and Appice tune, “Lady.”
Bogert, as usual, is monstrous on bass and Mick – anxious to join in – quickly switches on the Fender amplifier and turns up the volume.
A loud hissing is followed by piercing squeals. Perplexed and nonplussed, he quietly requests another amp. This one works fine and after wringing one searing note from the rented Les Paul (both of his other guitars are broken) Ronno stomps on the fuzz box.
Crackling and spitting sounds emerge.
With a smile illuminating his powdered features, he requests another fuzz.
Finally both amp and fuzz are working and joining in with the other musicians – who by this time are all playing – he delivers some effective if not too creative riffs.
In fact, it is this pre-jam jam which will be the highlight of the evening.
The rest of the show is made up of “Not Fade Away”, “Hey Bo Diddley,” and another number, and though the overall sound is nothing to write home about the simple majesty of the affair is intriguing.

The next day, back at the hotel, Ronson is excited about last evening`s play and the whole American attitude towards music. He is in the midst of a scrambled eggs, bacon and hashed browns breakfast, and in between mouthfuls carries on the conversation.
He`s talking about his rejuvenation (he`s 29), which he apparently began in June of 1974 when he visited New York and met up with Bobby Neuwirth.
“I just started hanging around with Bobby, and he told me about the tour, I thought he was jokin`, because I didn`t know Dylan, and when Bobby talked about the tour he made it sound so loose. I thought, `This can`t be right what I`m hearin`. Maybe a bit of it`s right but it`s not just like that.` But yet it was that`s exactly how it was.”
Mick gags on a mouthful of bacon and takes a stiff drink of milk. He`ll anxious to go out shopping for records and guitars (“It`s the first time in years I`ve wanted to go out and buy guitars”) and decides to hit Tower Records first.
The reaction in the store is typical; ladies flit around like moths in flame territory and guys look on enviously. Several ask for autographs and Ronson obliges.
Then it`s outside and back into his silver Rolls Royce at the Tropicana (he leaves the guitar-searching for later) his thoughts run back to Bowie.
Despite rumours to the contrary, that association was a positive one and his enthusiasm when questioned about possible reunions with D.B. leaves little doubt that these feelings were heartfelt.
“Sure, I`d love to play with David again. I mean, I really like him. He`s really clever. He writes a lot of good songs. He can write a lot of good songs.

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“I mean, I like the guy. Even though I have said… it`s been quoted something like, `Well, if I ever see him I`m going to give him a kick up the ass.` I don`t literally mean I`m going to beat his brains out. I want to sort of get near him as a friend and not in battle.
“I mean to go in with that kind of approach but only to gain some instant respect, so that some kind of friendship can be locked in again.
“I haven`t seen him for a long time; I don`t ring him and he doesn`t ring me and I don`t know where he is and he doesn`t know where I am. I think that`s a shame because I respect him and I like his music.”
Ronson felt fulfilled in Bowie`s band as a guitarist but towards the end of his stay was becoming more interested in other endeavours, such as producing and arranging. He only started writing with his first solo album, “Slaughter on 10th Avenue,” and never had any inclination to do so with Bowie.
Not only has playing with the Rolling Thunder Revue opened him up to the guitar again but his taste for writing has been whetted. Not that he`s sat down with Dylan and taken lessons (“You don`t trade licks with him… he just plays songs”) but he has put pen to paper in recent days.
“I was never interested in writing when I was with Bowie. They were all David`s songs. And I do enjoy playing other people`s songs. I never wrote any songs at all until my first solo album.
“I got incredibly lazy; I wouldn`t sit down and think about a song, I`d rather sit down and get drunk, or I`d much rather sit down and play with women.

“I`m not into reading or poetry… so I never wrote. I think I`ve read two books in my whole life. Tom Sawyer was one and I can`t even remember the other. So I never had a way with words. I guess I said it musically. But I now want to express myself lyrically too, and I have written a couple of things. I`m singing more too, but only in the bathtub.
“I mean I was happy in David`s band as a guitar player but I never used to really play that much guitar when I was with him. I`d never sit around and play. I`d only play it when we were recording or I was on stage.
“And sometimes in the studio I`d say, `Oh, I don`t want to play guitar yet; and I`d put it away somewhere – because it started becoming secondary to other things that I wanted to do in the studio… production, arranging.
“I used to have to force myself to take it out – which was real strange for a guitar player to do.
“David was real good, real clever. He comes up with some real bright ideas. We used to work really good together for a time. I wanted to see him on the tour.
“But I couldn`t get any tickets.”
Ronson`s metamorphosis since leaving Bowie has been swift. Gone are the sequined fineries and the reluctance to play, and in their place are Levi regalia and an enthusiasm for the strings.
So long as it`s fun Ronson will continue. But don`t get me wrong – he`s no gung ho character.
“See that guitar there?” he asks, pointing to the rented Les Paul. “It`ll stay in its case until I go into the studio with Roger (McGuinn) tonight. I still don`t practise.”

Jams like the one which took place last night have become a frequent occurrence for Ronson, and that`s how his chops are kept up.
He is sure people will see his work with Dylan as a strange coupling, but isn`t worried about it.
“It doesn`t matter what people think as long as I`m enjoying myself. Some people are gonna like it and some people aren`t. Some people will think, `Why`s he playing that hillbilly shit? Why doesn`t he get back to what he was doing?` But I`m still playing some pretty hard rockin` things same as before – but with these different musicians.
“I`m having a good time. All the people on the Dylan tour were really good people… people who could be with each other all day and all night. It`s just like I used to hang out with Bowie… we used to have fun. We all hung around together because it was good for an up-and-coming band to be seen together.”
Mick Ronson at 29 is really just a beginner. After starving in London and Paris years ago, he now charters Rolls Royces and hangs out with Bob Dylan. But he`s still the same person – playing “Blowing In The Wind” through small amps and “Ziggy Stardust” through massive Marshalls.
“I`m just learnin` like everybody else. I could work harder but then I`m just basically lazy.”

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Another ad probably not allowed these days. Only in videos.

I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Rolling Stones, British Country Music Festival, Abba, J.J. Cale, Magna Carta, Dr. Alimantado, Steve Harley, Osibisa.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Trevor Bolder (Spiders From Mars) FROM NEW MUSICAL EXPRESS, February 28, 1976

This update on my blog took longer than expected because of commitments at work, but finally; here is a new post for you all to enjoy. This time with one very important bass player. This article should be of equal interest for Bowie-fans as for fans of Uriah Heep and Mick Ronson.
Trevor Bolder sadly died in May 2013 at the age of 62 from cancer.

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“We`ve still got the Bowie costumes. We can wear those.”

…says down-home, duffle-coated, non-decadent Spider From Mars Trevor Bolder to debonair, trench-coated, cosmopolitan Lizard from Poland Chris Salewicz (late of the uncredited Gong feature on last week`s page 12). Thrill to it!

Hull. H.U.L.L.
Ah, the romance contained in those four letters: Images of a nation torn apart by the hardship inflicted on the Men Of Hull by the heinous Icelanders; a spiritual kinship with the Brest of Jean Genet; the scent of rotting fish drifting down the Beverley Road. Perhaps one day Sailor will write a romantic concept album about Hull.
Unless the Spiders From Mars beat `em to it.
It is in Hull (where else?) that the Spiders From Mars are currently tucked away rehearsing for a British tour. “A long way from David Bowie,” you might think. “How unchic,” you may well grunt. And you`d probably be right.
After all, these lads could well be accused of being a little naughty going around calling themselves by that name. Wherefore art thou, Ronno? Also half-whither pianist Mike Garson direct from working with Lulu and David Essex – who`s about to split the land back to his native USA to renew his British visa. He will not be joining the Spiders From Mars. He has, however, played on their album. He may join them for the tour, when it materialises. If they haven`t managed to find another keyboard player, that is.
And “they”? “They” are bassist Trevor Bolder and drummer Woody Woodmansey. Half the original Bowie-backing Spiders. To be precise, the rhythm section.

“All depends on how much importance you put on a name and how much you put on the music and the band,” comments Trevor Bolder stunningly. We are seated on some peculiarly spine-twisting Habitat chairs (the Campus range, actually) in an office overlooking the Edgware Road at the headquarters of Pye. Not Hull in the strictest geographical sense, perhaps, but close to it spiritually.
With Trevor is Pete McDonald, the Spiders` vocalist. Pete speaks infrequently and yawns frequently. This is because he couldn`t go to sleep last night because he was driving down from his home in Newcastle to London. Via Hull, of course, to pick up Trevor from his home.
Now, Trevor. I do feel it unlikely that you would have been booked to play the few billtopping college dates you have played if you`d been masquerading as the 50% unknown band that you actually are under another name.
“I dunno. I never booked them.” More Trevor Bolder stun-speech. And then: “It`s a leverage. It`s a place for us to go from. Why the hell should I try and start rock-bottom again if I`ve got something I can use? But it`s as hard for us to use the name again as it is not to use it, if you know what I mean. Because people say `Oh, the bloody Spiders again. What they doin`?`. And then they just brush it aside.
“But we like the name and we never did get to do an album on our own as a backup band. Which was planned to be done. It fell through when we just disbanded, you know, when Ronson went and did his own album. And so we decided to do one. And we like the name. We think it`s a good name. It`s unusual. People always go `Oooo. What?`.”

And yet, Trevor, you must admit to only being half of the original Spiders.
“I think if we`re going to do anything anyway it`s going to be on what music the band gives off.” Trevor disposes with further finicky obsessions about detail with true Northern bluntness.
With the exception of Woody Woodmansey – who is at this moment ” `ammerin` out” a new drum-kit down in East Grinstead (ho-hum) and who was replaced by Aynsley Dunbar – all the Bowie Spiders recorded “Pinups”. “Pinups” was, in fact, the last time that these musicians were to record with the Beckenham Boy although no-one knew that at the time. Shortly afterwards they entered the studio with Mick Ronson in charge to lay down the tracks for “Slaughter On 10th Avenue”.
“I thought `e should have played more rock`n`roll meself to be honest,” laughs Trevor, “I really thought he shouldn`t have gone out and tried to be a singer. He should have concentrated on being a rock guitar player.”
Question voiced: So whose idea was it that he should lay down his guitar and start airing the tonsils? (Question implied: So tell me all about Tony De Fries` manipulation of Poor Innocent Ronno?).
“Is. It was `is career. `E did what `e wanted. `E `ad a free `and in everything `e wanted to do. `E wasn`t told by De Fries. I think `e just `ad a lack of experience at that point in what direction to go in and `e just got together wheatever `e could and just did an album. And `e just went in the direction it went in.”
The Pye press officer sticks his head around the door and mumbles something unintelligible to my ears.

“We`re `oping,” Trevor translates, “to be doing the big dates with Dave in London as a support band. It`s just an idea that we`ve been talking on the phone about” (the much more financially reasonable localised Hull telephone service, I expect). “Might not come off. All depends what `e feels like. But `e keeps changing `is mind. You can never tell with `im. `E`s that sort of a person,” he adds, looking knowingly at me.
You had that problem with him when you were working together?
“Oooooh. All the time.”
Because I`ve always had the impression that David Bowie is enormously together and seems to know exactly what he wants.
“Oh, `e does but I mean like. `E knows what `e`s after. `E knows what direction `e`s going in but `e changes `is mind about things. For the right time. One day `e`ll say one thing and then `e`ll realise it`s the wrong thing and `e`ll change it again. That`s the way `e works.”
As a young lady enters the room to search unsuccessfully for “Jim`s diary” – Trevor talks about DB and Money: “We was just on wages. Always was. Well,” he pauses a moment or two, “We thought it might have been different but it never was. I mean, we got good wages. The money went up as the band progressed. As it got bigger and bigger we earned more. We didn`t earn a fortune like people thought we did. De Fries and Dave earned the money. We just earned a good living.”

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So what happened after “Pinups”? Why`dja pack it in?
“With Bowie??? I didn`t really pack it in. You mean playing? I don`t know.” He says it as if the question has never occurred to him. “We never saw each other after that. I mean, I didn`t see David for about four or five months, you know, and I went off and played on Mick`s album. And whether `e thought `Eh eh? `E`s gone off with Mick and I`ll get somebody else in` I don`t know.
“But I just accepted it. I was too busy working wi` Mick.”
“On to play on `Don`t Worry`, the second Mick Ronson solo album,” I prompt?
He nods: “That was a funny album. It took months. We went to France to record it first and we used this studio that wasn`t very good and we spent two weeks there and `e only kept about two tracks, I think. Two backing tracks. And `e came back and recorded it all again at Trident. A very expensive job.
“It was just after that he joined up with Mott. I don`t know why.”
Trevor Bolder then made lengthy and abortive searches to find musicians to form a band of his own. None were suitable. One day he walked into Cube Records and met up with Barry Bethel, a MainMan organizations expatriate. Bethel recommended first a vocalist, Pete McDonald, from a Cube signed Geordie band, Bullfrog. Bolder got off on his Paul Rodgers-esque vocals. “And I decided to get together with Woody (Woodmansey) as well. And Woody thought it was a good idea `cause `e wasn`t doing anything at the time. So there was three of us and we needed a guitar player.”
Pete McDonald recommended yet another Cube artist, Dave Black, guitarist with a band called Kestrel. “Sort of McLaughlin, Yes type of thing. Different style totally from what I`ve been used to. A very fast guitar player. And we got `im down, got off on `is playing and we went from there. This is February of last year.”

Was there any period after you left Bowie where you wondered what the hell you were going to do next?
“Well, I automatically thought `What the `ell am I going to do`, you know. But I decided that there was only one thing to do and that was to form another band, you know. Get playing again. Because I `adn`t stopped playing just `cause I`d finished with David. That was all in the past.
“Even when I look back on it now it`s very hard to bring to mind all the times when I was onstage. It`s like I`ve been to the pictures and watched it at the pictures and you get like glimpses. I`d sort of forgotten what it was like playing with him, you know. It`s all sort of gone and I`m just like looking for summ`at new now.
“But I mean like you play with Dave and you play bass and you contribute to the albums with a few ideas but that`s about as far as it goes. You don`t get to write any songs.
“Whereas this way we`ve got more freedom. You can do what you want and enjoy it. Everybody gets to write and to put in their ideas and it feels more like a stable band whereas before it was a band and one man and you didn`t know what was going to happen next. And in the end, of course, we just bust up.”
Pete McDonald breaks his silence: “The writing potential`s great `cos we wrote that whole album in five days. It just seemed to click.”
And you expect the album to chart?
“Ye-ahhh,” says Trevor, just a little hesitantly,” If we get the right promotion and get the band onto a tour and let people see the band. It`s a very visual band. Very rock. We don`t just stand there.
“We`ve still got the Bowie costumes. We`ve still got the clothes. We can always wear those. But as compared to the Bowie thing it`s much more raw. Much more rock. There`s not as much theatre.”
Pete for the third time: “It`s a lot of fun as well. It`s all amusement. The serious bits don`t come into it too much. If somebody makes the wrong move they just get filled in by the others. No stars.”
“I think people take the business too seriously,” nods Trevor Bolder. “I mean, I did when I was with Dave. I used to think everything had to be so right. But you`ve got to go out there and have fun and that`s what we`re trying to do. To enjoy it for ourselves as much as the audience.”

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Those were the days – when Boots sold records! 

 
I have personally transcribed this from the original paper. Any errors in the text from the original magazine may  not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Emmylou Harris, The Sexual language of rock (not a band!), Dave Burland, Johnny Clarke, Steve Harley, Kokomo, 10 cc, Lee Brilleaux.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT David Bowie FROM NEW MUSICAL EXPRESS, January 10, 1976

The journalist, Mr. Murray, is positive in his review of this album and later even wrote a book about Bowie that you will find here: http://charlesshaarmurray.com/books/
The album, in its original form, was only six songs but is still considered among Bowie`s finest among many of his fans. Despite its status and a #3 position on the US Billboard 200 chart and going to #5 on the UK Albums chart – it is only certified Gold in Canada, UK and the USA to date. Surely some mistake?
Enjoy!

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BOWIE

Don`t touch that dial

David Bowie: Station To Station (RCA)

By Charles Shaar Murray

“A sixty thousand word novel is one image corrected fifty-nine thousand, nine hundred and ninety-nine times” – Samuel R. Delaney

LONGACRE BOARD OF EXAMINATION INTERMEDIATE ROCK WRITING

Discuss David Bowie`s “Station To Station” from any perspective available. Up to two hours may be spent on this question. You may answer in note form if necessary.

1. It may be argued that there is a qualitative difference between music made out of necessity (i.e. to fulfil a contractual quota) and music made purely for the sake of enjoyment derived from making it.
David Bowie didn`t have to make this album.
After completing his work on the movie soundtrack of “The Man Who Fell To Earth”, he was supposed to take a holiday until the New Year (this one, putzo) when he was/is scheduled to go into rehearsal for the European tour and, presumably, the next U.S. tour.
However, he ended up writing a batch of songs and flying his band into L.A. from New York to go into the studio and make this; an “extra” bonus album, if you like. Kind of like “The One That Got Away” in reverse.

2. The album opens with the sound of mighty trains chuffing determinedly from speaker to speaker (must be a real trip in quad, Jim), heavily phased to suggest (“allude to” would be more precise) the ambience of the white noise you get when you twist a radio or TV dial attempting to local a channel. (Not to mention “station-to-station” (as opposed to “person-to-person”) long-distance `phone calls).

3. The title song, which opens the album, runs 10.08 (at least, that`s what it says on the label. I haven`t checked it). Bowie doesn`t make his vocal entry until the track is nearly three and a half minutes.

4. If Bowie was James Brown he could well have entitled the second, up-tempo half of “Station To Station” “Diamond Dogs `76”. The dominant sound of this album overdubs the claustrophobic guitar-strangling garage band chording of “Dogs” (plus, to a lesser extent, the howling, wrenching lead guitar of “The Man Who Sold The World”) over the itchy-disco rhythms of the “Young Americans” album, while Bowie`s vocals evoke the lugubrious, heavily melodramatic vibratoed almost-crooning of Scott Walker.

5. “Golden Years,” the album`s Big Single, is placed in the middle of the first side. The placing of an already-familiar single on an album of otherwise new material is always crucial, since it automatically provides a period of decompression, a relaxing of the concentration necessary to assimilate new music.
“Golden Years” is a masterstroke of a single (though not quite in the same exalted class as the masterly “Fame”) and it`s quite the most compact and direct piece on the album.
Elsewhere, Bowie lays out vocally for quite considerable lengths of time – particularly on the title track`s companion Marathon, “Stay”, which can be located over on the second side – leaving the band to cook uninterrupted.
His vocals are not only sparse, but mixed right down and mumbled into the bargain.
In the days when I was into lyric sheets (i.e. before I remembered that Dylan never provided a lyric sheet in his life, and realised that a crucial part of my enjoyment of “Horses” was down to listening to the words as part of  the record and comprehending/understanding/deciphering more of them with each listen instead of copping the whole thing off a dessicated cribsheets) I would have bitched about not being able to do the heavy lyrical analysis schtick straight off.
As it is, I find myself listening to the sounds of the music (and the music of the sounds, man, far out!) rather than even trying to make out the lyrics.
On a purely audio basis, therefore, “Station To Station” represents a solid triumph for Bowie as an organiser of music. Maybe if I had the sleeve I`d know whether it was a concept album (heh!) or not. Hope it isn`t, though.

6. Musically, the biggest surprise on the album is the intro to “TVC 15,” the first track on the second side.
It`s rolling bar-room piano (vaguely reminiscent of Climax`s “Loosen Up”) with Bowie copping the “Oh-woa-hoo-wo-ho” vocal intro from the Yardbirds` “Good Morning Little Schoolgirl” (the man is nothing if not eclectic) before settling into a tight but relaxed groove with a great chorus in which Bowie carols, “Transition/transmission”. It`s one of the craziest things I`ve heard in a long while.
Incidentally, I have no idea of what the title means. My theory (which is my own, etc., etc.) is that it refers to Channel 15 on Los Angeles TV, but on the other hand Joe Stevens suggests that it`s the register number of the video course that Bowie`s supposed to be taking at U.C.L.A., while Mick Farren opines that it`s a gearbox of some sort (alternate meaning to the “transmission” motif).
To coin a phrase, I await further enlightment.

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7. “Stay” features a lurching raunch guitar part performed, or so Mr. Kent informs me, by Ron Wood.
It confirms my belief that the standard of Mr. Wood`s playing is entirely determined by the company he keeps, a belief initially fostered by a comparison of his playing at Eric Clapton`s Rainbow Concert and on Rod Stewart`s sole albums (sublime) and on the vast majority of Faces manifestations (ridiculous), not to mention a brief earful of a recent Stones bootleg.
Here he gets plenty of room to smear funk all over the scenery, ably supported by Willie Weeks on bass (and presumably therefore Andy Newmark on drums).
Bowie`s vocal line, embellished by female back-up voices singing octaves, is quite absurdly effete – not to mention loopily wacky a la Sparks – but it seems almost logical when juxtaposed with Wood`s funk riffs.
Since I`m working from a blank sleeve with no info, I can give you no exciting tidbits about the world-famous musicians, engineers, producers, arrangers, derangers, freerangers and so forth who are doubtless embroiled in the proceedings.
I can hazard a guess, though, that Tony Visconti is present in some productorial capacity and Paul Buckmaster in an arrangerial ditto, whereas the other musicians are simply whoever was in Bowie`s road band at the time, with another Carlos Alomar or Earl Slick (or both) on guitars. The more Ronsonesque guitar leads on the album are certainly reminiscent of Slick`s work on the live album.

8. In addition to the above-mentioned songs, the album also includes two real croonaruskies on which Bowie – and this is Ian Mac`s idea, not mine, Dave ol` pal (heh heh) so don`t git mad – sounds totally drunk.
Dig the scenario – the bar`s closed, the proprietor`s sweeping the floor and stacking the chairs up on the tables with their legs in the air like abandoned mannequins, and this turd in the corner just won`t stop singing along to the backing track in his head.
More so than anywhere else on the album, Bowie discards the conventional tradition of rock singing (i.e. non-realistic, purporting to be a stylisation/abstraction?) of the way the singer “normally” speaks and by extension therefore is) in favour of an abstraction of the styles of the so-called “Balladeers”.
Both these songs are placed at the end of their respective sides; “Word On A Wing” comes at the end of side one, while “Wild Is The Wind” ends side two.
The latter was written by Toimkin and Washington (the only non-Bowie song); Tiomkin is presumably Dimitri of the Ilk, and is therefore, equally presumably, a theme-from-the-movie-of-the-same-name.

9. The main lyrical motif of the title song is “It`s too late (to be grateful)/It`s too late (to be hateful)”.

10. “Station to Station” is a great dance album.
It`s funk on the edge, the almost claustrophobic rhythms of “Fame” diffused through the tortured guitars of Ziggy`s memory tapes, plus that new vocal style, simultaneously ugly and mesmeric.

11. Let`s hear it for the title guy in the baggy suit.

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I have personally transcribed this from the original paper. If you have a music-related web-page where this fits  – please make a link to the article. With a great, big thank you to the original writer of the article from all of us music fans!

This number of New Musical Express also contains articles/interviews with these people: Cat Stevens, Patti Smith, Grateful Dead, Albertos y Lost Trios, Bob Dylan, 10cc, Dion, The Great British Music Festival.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.