Pinups

Coming out in between Aladdin Sane and Diamond Dogs, this album of covers was released today in 1973. Notable for his hit rendition of The Mersey's Sorrow, the record features music from Bowie's teenage years, mostly UK bands from the 1964-1967. Spiders From Mars alumni Trevor Bolder and Mick Ronson return on bass and guitar respectively, but drummer Mick Woodmansey is replaced by Aynsley Dunbar. Mike Garson also reappears to whack the keys.

This is not essential Bowie listening, but is interesting to hear what he dug, and what songs he chose to record given the opportunity. It is quite cool that Australia's own Easybeats got a guernsey with him tackling their smash single Friday On My Mind. 

There's some material I was already familiar with when I first heard this album, namely The Who songs (I Can't Explain 

and Anyway, Anyhow, Anywhere) Pink Floyd's See Emily Play, Them's Here Comes the Night and The Kinks' Where Have All The Good Times Gone. I'm not very familiar with The Pretty Things though, and he includes two of their songs here, album opener Rosalyn and Don't Bring Me Down. I've yet to seek out the original versions, but I imagine they would be similar to how they are presented here, possibly a little glammed up and Bowie-ised. Not heard of The Mojos at all, and consequentially didn't know their hit Everything's Alright either. There are two Yardbirds covers here too, Shapes of Things (which I knew) and I Wish You Would (which I didn't). 

Not an album I've listened to very often, and the cover featuring model Twiggy feels like an attempt at an iconic image that didn't quite land. Sorrow is easily the best track here, and arguably the most endearing of all the covers. Despite the energy of the tracks (no doubt fuelled by a little post-split tension from the ex-Spiders from Mars), there's nothing remarkable here. The performances are all good, Ronson in particular handling everything that is thrown at him with ease, but it's more of a novelty record than one that adds to the Bowie mystique. It's not a record that I feel I have to play again immediately after hearing it, unlike others in his canon. And that last listen I just finished might do me for a few more years. I give this album 2/5.

NEXT UP: The Man Who Sold The World - Nov 4th

Aladdin Sane

Now, just to warn you, I'm not overly fond of this album. There are some songs here that Bowie fans absolutely lose their minds over, but I just don't. Probably only a handful of tracks here really grab me; and as an album, it's one that I very rarely listen to in full. Referred to by many as "Ziggy Goes to America", Aladdin Sane features one of Bowie's most iconic album covers. That awesome red and blue lightning bolt over his face, the bright red hair, the bare shoulders with some sort of liquid dripping from his clavicle (a misplaced teardrop?). But, the music contained within the record doesn't excite me like it does others. I know people who would name this as their favourite Bowie album, or at least put in their Top 5, but it wouldn't land in my Top 10. 

Bowie returned to the studio with the Spiders from Mars band members, multi-instrumentalist Mick Ronson, bassist Trevor Bolder and Mick Woodmansey on the drums. This album is also notable for being the first appearance of Mike Garson, who would go on to play piano on many more Bowie records. 

Released 48 years ago today, it seems like a good reason to have another listen, track by track and let my mind fully absorb what I hear. Or something. I ended up spinning it twice, once on CD, and once on my iPod when I walked our dog Zappa. 

1. WATCH THAT MAN
This is song that took a while to grow on me. I just didn't 'get it'. The opening chords seemed liked they were thrown together rather than written for a song. But, there's a vibe there. Once you tune in, there's an energy that is quite contagious and it's like a party is seeping out of the speakers when it plays. I wouldn't be surprised if it was a big influence on the Rocky Horror musical production choices. 

2. ALADDIN SANE (1913-1938-197?)
The title track, a pun on 'a lad insane', is one of the most experimental pieces of music Bowie had recorded at that point. Featuring a fairly avant-garde solo from Garson on the piano, this song also doesn't really land for me either. I like the 'uh uh uh uh, uh ah' bits though. And Mike Garson's piano work is sublime. 

3. DRIVE-IN SATURDAY
Another song that I just don't get. It was on the Bowie Singles Collection 1 CD I grabbed a copy of when I was a teen, and I would always skip it. I became aware of how popular it was when Rhones and I (and friends) went to one of Bowie's shows at Rod Laver Arena in Melbourne, early 2004. If memory serves around three or four member felt compelled to yell out a request for it. Each time it happened I was floored. "Really? That one?" It's possibly quite nostalgic for those who remember watching the types of movies he's describing at the drive-in. My memories of that medium were in Albany as a pre-teen, catching the latest Bond movie with my family. Or before that, a rain soaked screening of E.T. which either bored or scared me depending on the scene (I like the film much more now). I do enjoy going to the Galaxy Drive-In now though. Let's get that straight. Just not this song so much.

4. PANIC IN DETROIT
Now, this is a track I probably shouldn't like. The first time I heard it, I was less than impressed. While it has grown on me considerably in the last few years, I feel that it is far from a classic. However, I really enjoy the percussive element and Bolder's descending bass line is quite hooky too.

5. CRACKED ACTOR
Another song I'm not a big fan of. At the risk of repeating myself (too late!), I just don't get it. The chorus comes across as half-baked and the outro goes on for too long as well. It seems like the song's mission was to just titilate with some outrageous lyrics and crank out a bit of noisy guitar. 

6. TIME
If there's a shining centre in the universe of this album, for me, this is it. From the German music hall feel of the opening twinkling piano to the rousing multi-layered vocals at the song's end, this is five minutes of Bowie bliss. Some of my favourite Bowie lyrics are here too: "Time, he flexes like a whore/Falls wanking to the floor" and "Oh, well I look at my watch, it says nine twenty five/And I think 'Oh God, I'm still alive'". The former couplet, however profane, sums up the fickleness of time itself. We can be swayed by its promises, but we end up realising that time is actually self-serving. Bowie's vocal performance is among his best here as well. I just love it. Can't praise it enough.

7. THE PRETTIEST STAR
A guitar riff that never ends. A less-than-catchy chorus. A meandering melody. Yeah, nah. I think it was meant to be T. Rex-esque, but it doesn't land for me. 

8. LET'S SPEND THE NIGHT TOGETHER
As cover versions go, I don't mind this. There's an excitement here that is somewhat absent from the original. Or maybe, it's just that the energy level here is so high that it makes the Stones' performance seem a little lacklustre. Whether it's Garson's furious piano playing or Bowie's frenetic vocal delivery, it just wants to grab you by the ears! Bowie sounds like Frank N. Furter before the character even existed, and Mick Ronson's furious guitar screeches are out of this world.

9. THE JEAN GENIE
Arguably the most famous song on the album, and an absolute stone-cold Bowie classic track. Nuff said.

10. LADY GRINNING SOUL
Another song that seems to resonate deeply with Bowie fans, but again, I don't get it. Even after a couple of listens today, I'm not swayed.

I give this 2.5/5. Won't rush to listen again, but I probably will.

NEXT UP: Let's Dance - 14th April