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Another confusing song in a similar vein the the closing track "The Bewlay Brothers" with some - at least to me - totally incomprehensible lyrics, and another very interesting composition. My favourite part is probably the varispeed vocals in the outro which lead my thoughts to his later Berlin period - for instance "Beauty and the Beast" from Heroes.
Lyrically it is quite humorous: "He think about paint, and he think about glue, what a jolly boring thing to do". It is clearly the most Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) glam rock song on the album, foreshadowing both Ziggy Stardust and Aladdin Sane. Mick Ronson's trademark guitar sound is the highlight for me here. Only two songs can not entirely live up to the high standard.
The first is "Kooks" - a song written Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) his then newborn son Zowie. It most of all resembles the more lightweight corners of the 70's glam rock and there's another instant of the previously mentioned key change. However, on a different album it would shine as a great song, and the piano playing in the verse is great.
The last one is the cover song "Fill Your Heart", the closest the album gets to a filler. It is very lightweight, but fortunately Bowie adds some distance to it, almost parodying its happy-go-lucky feel, for instance with his vocal phrasing on the last "makes you FREE! And of course the delayed sax at the end crossfades perfectly into "Andy Warhol".
Still, despite not being as strong as the other songs, "Kooks" and "Fill Your Heart" do their job well in making the album hang together as a whole, and I couldn't imagine it without them. Hunky Dory is not a grand production. It is not particularly ambitious. Nor is it a concept album in any way. It's just a collection of damn good songs. The result is Bowie's first masterpiece album. More were to come This is a conceptual album with a mix of the novel "" by George Orwell and Bowie's personal artistic vision of a post apocalyptic world.
Originally, Bowie wanted to make a theatrical musical production of Orwell's novel and he began writing new material soon after completing the recording sessions of his previous studio album "Pin Ups". However, in the late, the author's estate of the novel denied him the legal rights to do so.
Then, he decided to make Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) a little different from the initial idea. The first track "Future Legend" is a spoken introduction, and it serves as a kind of a prologue to the album, with Bowie talking about a post apocalyptic description of New York, after a post nuclear war. The second track is the title track "Diamond Dogs". This is the lengthiest track on the album and is a fast rock song with a great chorus work.
It's a rock'n'roll song with clearly influences of The Rolling Stones. This is a more conventional rock song with a simple and traditional musical structure which, in my humble opinion, lacks to it some original creativity. The third track "Sweet Thing", the fourth track "Candidate" and the fifth track "Sweet Thing Reprise " is a kind of a musical suite and, in reality, they make part of only one song.
These are all great tracks with dread and dark tones that represent a kind of a dark tale of the big city. They're all songs with great chorus, beautiful musical performances, nice lyrics and fantastic instrumental sections. The final result is a truly great, pure, brilliant and beautiful musical moment of continuous suite music. These three tracks represent, for me, without any doubt, one of the highlights on the album.
The sixth track "Rebel Rebel", like the title track "Diamond Dogs", has nothing to do with progressive rock music. They're straight and pure rock'n'roll traditional songs in the style of The Rolling Stones. Here, we can clearly see homage to Keith Richards, with his performing guitar riffs, and to Mick Jagger, where the vocal performance of Bowie reminds us his unique style.
The seventh track "Rock'N'Roll With Me" is a very good and beautiful ballad with nice piano work and warm chorus. It's a song with a very simple musical structure and a nice tune too. This is a very lovely slow song, not too long and that became pleasant enough to listen to, even in our days. This is a slow keyboard ballad, very melodic and beautiful to listen to. It represents one of the darkest musical moments on the album with explicit lyrics and with a very dense dark musical atmosphere. The ninth track "" is clearly fully oriented by Orwell.
It represents the first musical sign of Bowie, to the soul music approach, which will be appeared on their next studio album "Young Americans". This is a very nice funky musical number with plenty of energy and creativity. The tenth track "Big Brother", like the previous track, is also a clearly fully Orwell oriented song.
It's an excellent song where Bowie's voice sounds very robotic, as a machine. This is a song with very pessimistic lyrics where the hero of the novel Winston Smith failed in his fighting against the dictator, Big Brother, and was converted as one of his followers. It's one of the most progressive tracks on the album and one of its best, too.
It represents the last step of Smith to the submission to the authority. This is a very paranoid song with a variety of circling musical sounds and repetitive vocals, and with an abrupt and unexpected end to the album. This song is, with the previous song "Big Brother", one of the most progressive songs on the whole album.
Both tracks represent an unexpected grand final for this great album. Conclusion: Once more we are in presence of a great studio album of Bowie, the only truly and real chameleon artist. Strangely or not, he was able to make another surprisingly great studio album. This is Bowie's third classic studio album from his glam rock musical period. It's probably the deepest and darkest studio album of Bowie and it's also the most paranoid, indecipherable, inscrutable and insane, too.
It has an interesting concept and many new sounds while still continuing the nihilistic apocalyptic themes of the "Ziggy" era. The glam trash style is still there. So, this is a Bowie's album not to lose. This is a must for any classic Bowie's fan. Or is it the other way around? David Bowie had tried and tried and tried with different band constellations, artist names and style changes, releasing a handful of singles between and as well as his debut album in He had moved from rhythm and blues to cabaret and easy listening, but with little success.
The releases have showed some signs that Bowie had some unusual ideas, but the quality was mixed, and overall the songs were not outstanding enough to make an impact on a scene where other artists had done similar things, just way better. But then in came a single that didn't sound like anything else. And I think most fans will agree this is where the story really begins.
Indeed, almost all Greatest Hits compilations with David Bowie begin with "Space Oddity", or just have it as the oldest track. It is also worth noticing, that the many CD re-releases of his albums begin with this, the album on which it appears thus omitting his debut album which has only been re-releaed separately, along with his early singles. Most re-releases of the album have been entitled Space Oddity, probably to avoid confusion with the Deram album which was also titled David Bowie.
Let us begin with the title track and leave the other songs for later. For the first time, Bowie has written a truely original song.
The melody is much more focused than anything he had written before, but a lot of praise should also be put on the creative arrangement. Advanced Search. Track Listing - Disc 1. Space Oddity.
Ziggy Stardust. Suffragette City. John, I'm Only Dancing. The Jean Genie. Drive in Saturday. Life on Mars? Rebel Rebel. Diamond Dogs. Knock On Wood. Young Americans. For the week of 27 September"Fame" dropped to number two behind John Denver's "I'm Sorry" for a week, before returning to the top spot for one final week, ultimately being replaced at number one by Neil Sedaka's "Bad Blood". Bowie would later claim that he had "absolutely no idea" that the song would do so well as a single, saying "I wouldn't know how to pick a single if it hit Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) in the face.
Dave Thompson of AllMusic calls the track "a hard-funking dance storm whose lyrics -- a hostile riposte on the personal cost of success -- utterly belie the upbeat tempo and feel of the song. According to biographer Chris O'Leary: . Bowie wanted to remix a successful American single Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) the tour and album release; of the two options "Let's Dance" and "Fame""Let's Dance" was simply too recent.
Bowie liked the choice: "It covers a lot of ground, Fame; it stands up really well in time. It still sounds potent. It's quite a nasty, angry little song.
I quite like that. David Bowie's "Fame" was used as the soundtrack of an animated music video of the same title, directed by Richard Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) and Mark Kirkland while students at California Institute of the Arts. From Wikipedia, the free encyclopedia. Redirected from Fame David Bowie song. Funk  funk rock . Harry Maslin David Bowie.
The A to X of Alternative Music. ISBN Archived from the original on 5 July Retrieved 31 July Classic Rock Magazine. Archived from the original on 22 March Retrieved 4 February Q magazine : 60— April
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