Lodger

Bowie's 13th album Lodger was released forty two years ago last week, on the 18th of May. I was unable to get a-bloggin' about it then, so here is my a-blog now. Fair enough? The final offering of the supposed 'Berlin Trilogy', even though it was recorded in Switzerland and New York City. One of the big factors connecting the three albums (Low, "Heroes" and Lodger - for the uninitiated) is Brian Eno, who Bowie met in 1976. While Eno co-wrote several songs on these albums, they were helmed by multi-instrumentalist and frequent collaborator Tony Visconti, who produced the albums with Bowie. 

This record stands out from the three as arguably the weakest entry, and the only one not to feature any instrumental tracks. There's also a pop sensibility that permeates the music, despite some experimental sounds and Middle Eastern influences. Another difference is the addition of guitarist Adrian Belew, who Bowie had recently poached from Frank Zappa. Other contributing musicians include bassist George Murray, drummer Dennis Davis, violinist Simon House and pianist Sean Mayes. Frequent Bowie band member Carlos Alomar is also on guitar duties and co-wrote a couple of tracks as well. 

Wow, my thumb obscures the album's title - rookie move.
(Although you can make out 'Lodger' in four different languages below)

I must confess to not being the biggest fan of this offering, but there are a handful of songs I absolutely love. Seeing as it's been a fair few years since my last full listen, now seems like an excellent opportunity to remedy that. Let's go song by song: 

1. FANTASTIC VOYAGE
One of my favourite opening tracks from a Bowie album, and my pick of the songs here. Featuring an absolutely brilliant vocal performance from him, this would probably be in my Top 20 Bowie songs as well. Apparently the track has several overdubbed mandolin parts, three different musicians playing three parts each! Doesn't feel like that much mando, in fact, the song's production feels quite simple to my ears. I was stoked to see Trent Reznor and Atticus Ross do an understated performance of this song for the livestream event, A Bowie Celebration, early this year. It was included in Bowie's live document A Reality Tour as well, much to my delight. Short and sweet, I actually hit repeat twice before listening to the rest of the album. The song is also the first of six songs that were co-written with Brian Eno.

2. AFRICAN NIGHT FLIGHT
There's a lot going on here. Bowie's vocal delivery borders on annoying and there's too many lyrics to take in at times. I'm sure it's the product of Eno's bizarre 'Oblique Strategies cards', but it feels like noisy filler. Interesting Middle Eastern hook, but it's a bit of mess, for mine.

3. MOVE ON
Another song that's not that memorable. Some nice vocal harmonies and a pleasant enough listen, but nothing that sticks with you. 

4. YASSASSIN (TURKISH FOR 'LONG LIVE')
Not the greatest track here, but I do like the melody of the repeated 'yassassin' with the call and answer responses: "I'm not a moody guy/I walk without a sound". Almost a ska/reggae vibe on this one, complete with wobbly organ part. 

5. RED SAILS
Now, I don't mind this one. The vocal line is quite hooky and I found myself singing the "thunder ocean" bit repeatedly after my first re-listen. The melody-mirroring saxophone was provided by Stan Harrison, not Bowie himself. I do find it bizarre when he doesn't play the sax. Belew sounds like he was finally let off the chain a bit here too. The album itself starts to get a bit more interesting from this point on. 

6. DJ
One of a handful of songs that started to appear deriding the radio industry, the attitudes of those who helm the song choices and the decisions of what makes the airwaves. I first heard this track on the 1993 compilation Singles Collection Vol. 2, and took a while to warm to it. I dig it a lot more now, and it's certainly one of the album highlights. Co-written with Alomar, this song features a lot of guitar work from Belew and a memorable chorus line: "I am a DJ/I am what I play". 

7. LOOK BACK IN ANGER
Not a bad track, but doesn't really go anywhere. It seems like it stays in the same place without really moving forward, despite the galloping feel of the song. Bowie's vocal performance is terrific though, and the sound production of the band is pretty good.

8. BOYS KEEP SWINGING
Possibly the album's most renowned track, and another big highlight for me. The instrumentation and arrangement reminds me of early Roxy Music. I really love the bassline, which was re-recorded by Visconti after the experimental idea of the musicians swapping instruments didn't quite work. That's Alomar on the drums! He he he... I only just learned that this song also has the same chord progression as Fantastic Voyage. Now, I can't stop swapping the two songs around! 

9. REPETITION
A harrowing account of domestic violence, belied by the track's bouncy bassline. Bowie's near-emotionless vocals are especially chilling, as it would seem the song's narrator has no qualms about beating his wife. Not really an enjoyable listen, but an interesting one. 

10. RED MONEY
The album's final offering isn't too bad, and has Eno playing that synth sound throughout. Some nice crunchy guitar, and overdubbed vocals. Again, like some previous tracks, it feels a little meandering and comes across as filler. Its fadeout is almost merciful, as the song feels like it could just keep going. 

All in all, it's not brilliant, but has its moments. I give it 3 out of 5. Would listen to some of it again.

NEXT UP: Diamond Dogs. Eeep! This one was a little late...