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Discussion in 'Music to Your Ears' started by simonsp, Jul 20, 2015.
I'm sure this is a Visconti/Ronson/Woodmansey LP as much as a Bowie.
Monster playing all round.
Love that record!
It's a proper old-school heavy album from Bowie.
You can tell he'd been listening to Cream and Sabbath.
I especially like 'Saviour Machine', the song about the artificial God: "Please don't believe in me..."
It's a fantastic album. I love Ronno's playing on it, as well as his guitar sound generally. We do the title track in my band, the thinking being it'll go down well with fans of Bowie, Nirvana and...Lulu.
1970 I was in gr 10.... just getting into these new British sounds.... after the beatle/B&W decade...
we sort of grew up with each new Bowie LP.. each new Sabbath/Zep.. each new...... yadda yadda... we absorbed them all....
glorious times for NOW music..... no one I knew listened to anything more than a year old.... the next LP old...... there was so much going on.....
Love it, love it, love it! That record was Earth shattering. In that period, Bowie had a string of masterworks. David had top notch players, and it really paid off.
I'd be facinated to learn how that record was made. Large parts of it seem to be jams between Ronson and Visconti but then there are very defined structures to the songs as well. From stuff I've read it sounds as though the band was jamming in the studio while Bowie hung out with his latest flame (Angie?) but he must have been soaking it all up as the songs are brilliant. It's a strange interlude between Space Oddity and Hunky Dory.
Wiki is my knowledgeable friend -
The album was written and rehearsed at David Bowie's home in Haddon Hall, Beckenham, an Edwardian mansion converted to a block of flats that was described by one visitor as having an ambience "like Dracula's living room". As Bowie was preoccupied with his new wife Angie at the time, the music was largely arranged by guitarist Mick Ronson and bassist/producer Tony Visconti. Although Bowie is officially credited as the composer of all music on the album, biographers such as Peter Doggett have marshaled evidence to the contrary, quoting Visconti saying "the songs were written by all four of us. We'd jam in a basement, and Bowie would just say whether he liked them or not." In Doggett's narrative, "The band (sometimes with Bowie contributing guitar, sometimes not) would record an instrumental track, which might or might not be based upon an original Bowie idea. Then, at the last possible moment, Bowie would reluctantly uncurl himself from the sofa on which he was lounging with his wife, and dash off a set of lyrics."
Space Oddity and The Man Who Sold The World were something that an old girlfriend of mine played constantly, until she discovered The Smiths. Then that was all she played for the remainder of our relationship. All these recordings influenced me as much as my preferred Black Flag, Butthole Surfers, and Black Sabbath by sheer osmosis. Brilliant stuff Bowie did. Really orchestral in his arrangement and production. Although I like vinyl recordings for the cohesive nature of sonic output, it's really fun to appreciate the production aforded through recent digital remastering technology.
Fabulously OTT track by track appreciation of MWSTW by 'The Seth Man' (Julian is that really you!?) -
Every time I hear this record it occurs to me that I've never heard anything better..
"He followed me home mum, can I keep him?" Certainly dear, put him over there with the six inch stack heels and the sideway looks.
First two Bowie records I owned at 15 or 16 yrs of age :
1.) Man Who...
3rd was Ziggy.
Mick F****** Ronson
(He was sooooo good it's funny...)