One of my favourite Bowie albums turns the same age as me today! Well, kind of. It was actually released a week before I was born. So, I've never known a world without it! He he he...but I also didn't listen to it until the early 2000s. More fool me. It's in my Bowie Top 5 for sure now!
Except for the possibly overlong train noise at the beginning of the title track, there's not an ounce of fat on this album. Reflecting Bowie's nearly skeletal figure at the time of recording, no doubt, when he was famously surviving on a diet of red peppers, milk and copious quantities of cocaine. He has been quoted in later interviews as saying that he remembered very little of the recording sessions.
Recorded at LA's Cherokee Studio at the end of 1975, this record would be the link between the blue-eyed soul of Young Americans and the art rock of the brilliant Low album. Interestingly, like Low, the cover of this album is also a still from The Man Who Fell to Earth film. Bowie's band included the rhythm section of drummer Dennis Davis and bassist George Murray, along with Carlos Alomar and Earl Slick on guitar. The organ and piano duties were handled by the legendary Roy Bittan, who some will know as 'The Professor'. Rounding out the combo were Warren Pearce on background vocals with the album's co-producer Harry Maslin contributing some synth, melodica and vibraphone. Bowie would also add saxophone, Mellotron and Minimoog, and some guitar work.
Except for the possibly overlong train noise at the beginning of the title track, there's not an ounce of fat on this album. Reflecting Bowie's nearly skeletal figure at the time of recording, no doubt, when he was famously surviving on a diet of red peppers, milk and copious quantities of cocaine. He has been quoted in later interviews as saying that he remembered very little of the recording sessions.
Recorded at LA's Cherokee Studio at the end of 1975, this record would be the link between the blue-eyed soul of Young Americans and the art rock of the brilliant Low album. Interestingly, like Low, the cover of this album is also a still from The Man Who Fell to Earth film. Bowie's band included the rhythm section of drummer Dennis Davis and bassist George Murray, along with Carlos Alomar and Earl Slick on guitar. The organ and piano duties were handled by the legendary Roy Bittan, who some will know as 'The Professor'. Rounding out the combo were Warren Pearce on background vocals with the album's co-producer Harry Maslin contributing some synth, melodica and vibraphone. Bowie would also add saxophone, Mellotron and Minimoog, and some guitar work.
The expansive 2016 box set Who Can I Be Now? (1974-1976) features two versions of this album; the 2016 remaster and the 2010 Harry Maslin mix. I own the 1999 remastered CD, so I thought I'd give the latter a listen and compare it directly with the Maslin mix, track by track.
1. STATION TO STATION
The main difference between the 1999 remaster and the Maslin mix on this one is that the latter is a little cleaner and shinier. The drums are punchiner, and the guitars are brighter. There's a line or two of Bowie's that have been electronically dabbled with for eerie effect, but yeah, no biggie. Think I prefer the former.
2. GOLDEN YEARS
This is the first song I'd heard from this album, because it was on the Changesbowie compilation. My affection for this number has grown over the years, and I think it's one of Bowie's best 'dancey' tunes. Its usage in 2001's Heath Ledger vehicle A Knight's Tale probably adds to the want to dance to it.
The Maslin mix features a boomier bass drum and a stronger bass feel, in general. The intro positively rumbles out of the speaker, as the kick thuds along to that fabulous guitar riff. It sounds like the vocals have been pushed further out front as well. Again, it has that sparkly, shiny sound, but it's not terrible.
3. WORD ON A WING
Some of the finest piano playing of Bittan's career is right here, as is some of Bowie's finest vocal work. He goes everywhere, without over-singing or being pretentious. Every melodic turn serves a purpose and aids the song as he shows that he's "ready to shake the scheme of things". It's a track that has a deep yearning, almost feeling like a prayer at times, but it seems that Bowie is yearning to let another accept the help he is offering. It's a wonderful song that sweeps and seduces as it winds along.
Again, the Maslin mix features a louder and more present rhythm section. Earl Slick's lead guitar squawks are a little more piercing as well. The piano positively dances out of the speakers and Bowie's vocal appears to sound more anguished. It's quite strange to hear the same songs with slight differences. One wonders how they would sound compared to the original 1976 vinyl release.
Some of the finest piano playing of Bittan's career is right here, as is some of Bowie's finest vocal work. He goes everywhere, without over-singing or being pretentious. Every melodic turn serves a purpose and aids the song as he shows that he's "ready to shake the scheme of things". It's a track that has a deep yearning, almost feeling like a prayer at times, but it seems that Bowie is yearning to let another accept the help he is offering. It's a wonderful song that sweeps and seduces as it winds along.
Again, the Maslin mix features a louder and more present rhythm section. Earl Slick's lead guitar squawks are a little more piercing as well. The piano positively dances out of the speakers and Bowie's vocal appears to sound more anguished. It's quite strange to hear the same songs with slight differences. One wonders how they would sound compared to the original 1976 vinyl release.
4. TVC15
Now for a song about a TV eating your girlfriend! He he he...apparently it was inspired by Iggy Pop, who had experienced a drug-influenced episode where he believed that was what he had just witnessed. Kicking off with a jaunty piano intro and some playful "Oh uh-oh uh-oh"s from Bowie, this spacey, funky slice of disco art-pop is catchy as heck. This is a big favourite of mine and I love singing along to this one, especially the chorus: "Oh my TVC15, oh-oh, TVC15..." I do love the fact that he kicked off his Live Aid set with this number too, and he famously performed it on SNL in 1979 wearing a hideous grey skirt.
Much bass abounds from the Maslin mix, and Murray's bass itself absolutely thuds along. The backing vocals have been polished up too, sounding very bright and more present. There's certainly an aural difference that can be easily detected between the two versions. Listening to them side by side only adds to that ease.
5. STAY
I was stoked to see that this song was on the Glastonbury 2000 DVD/CD when it was finally released in 2018. Earl Slick had returned to his band too, so he could recreate the guitar intro he'd recorded twenty five odd years earlier. If you added the wonderful backing singers from Young Americans (Ava Cherry, Robin Clark and Luther Vandross) onto this track, it could sound like an outtake from that album. Again, we are treated to some groovy space funk, and despite its six-minute plus running time, it doesn't wear out its welcome. Possibly due to the great interplay between Slick and Alomar at the end.
Once again, it's the boomy bass and shiny vocals that announce the arrival of another Maslin mix. I don't know if they add anything all that special really. Just sounds like the track has been run through a car wash with extra polish. Certainly not bad though. He hasn't ruined anything, and the kept the vibe of all the songs so far.
6. WILD IS THE WIND
The final track on the album is a cover of the title song from the 1957 film Wild Is The Wind, and was originally sung by Johnny Mathis. It was Nina Simone's version that moved Bowie to record his own rendition, having met her in LA in 1975. This, in my opinion, is one of the most astounding vocal performances Bowie ever laid down. As wonderful as the band is on this track, Bowie is the prettiest star and shines brighter than ever. The song was released as a single in 1981 to promote the release of the Changestwobowie compilation. Now, that's a bizarre collection of Bowie songs! He he he...but still very good.
Much bass abounds from the Maslin mix, and Murray's bass itself absolutely thuds along. The backing vocals have been polished up too, sounding very bright and more present. There's certainly an aural difference that can be easily detected between the two versions. Listening to them side by side only adds to that ease.
5. STAY
I was stoked to see that this song was on the Glastonbury 2000 DVD/CD when it was finally released in 2018. Earl Slick had returned to his band too, so he could recreate the guitar intro he'd recorded twenty five odd years earlier. If you added the wonderful backing singers from Young Americans (Ava Cherry, Robin Clark and Luther Vandross) onto this track, it could sound like an outtake from that album. Again, we are treated to some groovy space funk, and despite its six-minute plus running time, it doesn't wear out its welcome. Possibly due to the great interplay between Slick and Alomar at the end.
Once again, it's the boomy bass and shiny vocals that announce the arrival of another Maslin mix. I don't know if they add anything all that special really. Just sounds like the track has been run through a car wash with extra polish. Certainly not bad though. He hasn't ruined anything, and the kept the vibe of all the songs so far.
6. WILD IS THE WIND
The final track on the album is a cover of the title song from the 1957 film Wild Is The Wind, and was originally sung by Johnny Mathis. It was Nina Simone's version that moved Bowie to record his own rendition, having met her in LA in 1975. This, in my opinion, is one of the most astounding vocal performances Bowie ever laid down. As wonderful as the band is on this track, Bowie is the prettiest star and shines brighter than ever. The song was released as a single in 1981 to promote the release of the Changestwobowie compilation. Now, that's a bizarre collection of Bowie songs! He he he...but still very good.
I had already heard the Maslin mix of this one, as it was included on the 2014 collection Nothing Has Changed. I remember thinking when I listened to it back then that the drums seemed to be up higher in the mix. They appeared to creep in earlier than I remembered too. Bowie's vocal is cleaner, again, but it allows his voice to soar higher somehow. I think this is the only track where I prefer the Maslin mix over the 1999 remaster.
This is truly an excellent album, and I love it. To celebrate the 45th anniversary of its release, there is a reissue available in either red or white vinyl, with the original black and white cover artwork. The cover of my CD copy is coloured, and there is no white border, the still takes up the entire cover space.
I give this 5/5. Would definitely listen again.
NEXT UP: Earthling - 3rd February
This is truly an excellent album, and I love it. To celebrate the 45th anniversary of its release, there is a reissue available in either red or white vinyl, with the original black and white cover artwork. The cover of my CD copy is coloured, and there is no white border, the still takes up the entire cover space.
I give this 5/5. Would definitely listen again.
NEXT UP: Earthling - 3rd February
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