"Heroes"

The second album of 'The Berlin Trilogy' came out yesterday in 1977. Unlike its predecessor Low, which was released in January of the same year, this record was wholly recorded at Hansa Tonstudio 2 in Berlin. Many of the same personnel from that album are here too with Brian Eno on keyboards (co-writing four of the ten tracks), guitarist Carlos Alomar, bassist George Murray and drummer Dennis Davis. Robert Fripp also contributes some guitar, notably the wonderful lead work on the title track, and Antonia Maaas handles the backing vocals. Tony Visconti is back in the producer's chair with Bowie as well. 

Similarly to Low, the album has several instrumentals, all appearing on the the second side. The record's last track however, The Secret Life of Arabia, does include vocals. While I'm not as big a fan of this album as Low, there is still much to like. The cover itself is arguably Bowie's most iconic, possibly second only to Aladdin Sane. 

The absolute highlight for me is the stunning title track, which is also among my favourite Bowie songs ever. The production is amazing, Fripp's guitar lines are sublime, Bowie's vocal is incredible and the track is deeply stirring. I'd only heard the single version before buying this album during the Great Bowie Prep of 2003/2004, and I now prefer the longer edit. The use of quotation marks on the title were to evoke a sense of irony, despite the uplifting, almost victorious feel of the song. The couple kissing 'by the wall' were eventually revealed to be Visconti and backing singer Maaas. Bowie spied them embracing from the studio window apparently, although he claimed it was an anonymous couple who inspired the lines. Visconti was married to Mary Hopkin at the time. 

Another highlight is album opener Beauty and The Beast, which I'd first heard on my Bowie Singles Collection CD. There's some rollicking piano, squelchy synths and a fairly galloping pace, with a catchy chorus to boot. Maaas' vocals are excellent, and match Bowie's delivery perfectly. The following track, Joe the Lion has some nice moments, but doesn't quite match the former. I do really like the bridge bit though: "It's Monday/Slither down the greasy pipe..." and so on. The playout is kinda cool too: "Joe the lion/Made of iron..." Sons of the Silent Age and Blackout are both quite good too, with the former being a little more engaging with its slightly eerie mood. 

The second side kicks off with the first mostly (instrumental) track V-2 Schneider which builds slowly, but is one of the album's more upbeat moments. There's a brightness, or airiness here feels quite refreshing and easy to enjoy. You could even call it boppy, particularly when Bowie's saxophone comes in. That feeling is quickly dissipated by the dark and ominous Sense of Doubt, one the most aptly titled pieces of music in Bowie's catalog. Sparsely produced, it's only an ominous piano line that's repeated in between bursts of string synths. I'm quite surprised it hasn't turned up in David Lynch movie. 

Bowie picks up a koto for Moss Garden, which is a Japanese instrument. Fairly ethereal, and a real breath of air after Sense of Doubt. It does the sense of sitting in an eastern garden while the wind blows the tress. The following Neuköln is an interesting piece, with Bowie swapping out the koto for his saxophone. He plays some unconventional notes, making it sound almost unrecognisable as that instrument. Can't say the track does much for me, but it's good to hear Bowie stretching himself. 

So, while it isn't as cohesive as other albums, there's a lot to like, and it does hold your attention. Mostly enjoyed listening to it again, and I give it 3/5. 

NEXT UP: Pin-Ups - 19th Oct

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...

Low

Today, David Bowie's 11th studio album Low turns 44! Far out. I was not even a year old when it was released. I don't think I listened to the whole thing until I was in my mid-twenties. Before that spin, the only song I had heard was Sound and Vision. Anyway...this album is now in my Top 5 Bowie Albums Ever. The first of the 'Berlin Trilogy', and in my humble opinion the best, this LP featured a whole side of (mostly) instrumental tracks. It even opened with the instrumental Speed of Life - almost unheard of for a popular artist back in its day. Coming after the blue-eyed soul of Young Americans and cocaine-fuelled space funk rock of Station to Station, this must have polarised his fans upon its release. However innovative it was, it's a far cry from the glam rock of Ziggy Stardust. Interestingly, the album's recording session began in France, at the residential Château d'Hérouville before Bowie and the band moved to Berlin.

I can't remember specifically when I spun Low for the first time, but it would have been a few months before Bowie's concert at Rod Laver Arena in Melbourne, February 2004. I was on a mission to listen to all of his albums by then, as his setlist was changing dramatically between cities. So, I'm going to blog about the album as I revisit it right now. 

1. SPEED OF LIFE
As I mentioned earlier, the opening track is instrumental, and right from the immediate sound of the squelchy keyboards, you can tell your in for something different. The heavily reverberated drums signal a change in direction as well, with multiple keyboard lines crisscrossing over the guitars. First listens may have anticipated an incoming beautiful Bowie vocal delivery, but of course, it doesn't arrive.

2. BREAKING GLASS
One of my favourite songs on this album, and quite possibly, one of my favourite Bowie songs in general. Co-written by drummer Dennis Davis and bassist George Murray, this track could almost be seen as a precursor to the punk movement. Minimal lyrics outlining glass breakage and carpet vandalism punctuated by that amazing rhythm section while Ricky Gardener's amazing guitar riffs tear through the speakers. Why did it fade out before the two minute mark? Crime against music, if you ask me. The live version from Stage is mercifully longer.

3. WHAT IN THE WORLD
This frenetic track sees the keyboard blips turned up to eleven. It's almost impossible to hear any other instrument. Some of that deep-voiced croon was seeping in Bowie here as well. Probably my least favourite song on the album, but still very listenable. If you like keyboards. He he he...

4. SOUND AND VISION
I first heard this track when I was about thirteen, while visiting Bali with my family. I had bought Changesbowie on cassette (1990 version) and was introducing myself to more of his work pre-Scary Monsters. At the time, I felt that it had an unusually long intro, but I still enjoyed it (not as much as other tracks, it should be said). I was particularly taken by the keyboard noise that sounds like a splash. It must have been produced by Brian Eno, but on what instrument? Of course now, the song feels like it should, with Bowie's wonderful sax lines coming in before his vocal starts. Who doesn't singalong to "Blue, blue, electric blue,..." when it comes on?  

5. ALWAYS CRASHING IN THE SAME CAR
Probably the most sombre of the songs that feature vocals. A downbeat tune meditating on the dangers of auto travel and recklessness. Apparently there was a third verse written that alluded to Bob Dylan's mysterious accident in 1966, but it didn't make it to the recorded version. Tony Visconti, who was co-producing the album with Bowie, found it too creepy. One wonders, doesn't one? 

6. BE MY WIFE
Another great track that kicks off with a positively rollicking piano line. Quite simplistic and repetitive lyrically, but hugely appealing from a melodic perspective. By this point in the album, you'd be forgiven for knowing where the rest of the songs were heading. The band are certainly gelling, and you've warmed to the arrangements and squelches. Bowie's voice gets a little rest from here on in.

7. A NEW CAREER IN A NEW TOWN
The second instrumental song, and the closing track on the first side of the LP, you could almost describe as having a jaunty feel. It’s quite easy to whistle along to, and it’s fairly upbeat in vibe. While the track is nothing exceptional, it has a nice melody.

8. WARSZAWA
This absolutely floored me the first time I heard it. I found it to be very similar to Angelo Badalamenti's work on Twin Peaks. It even shares structure with Love Theme From Twin Peaks, which starts off with the same ominous feel before moving to something more uplifting. Again, it was Eno who was responsible for those opening notes, which were created in one of his experimental sessions. I would be surprised if Angelo didn't spin this album as a fortysomething with headphones on, keeping some ideas for later compositions. 

What is quite unexpected about this track, is that after about four minutes, Bowie starts singing. It's not English though, and it's quite layered and eerie in places. Allegedly there are over a hundred voices, all performed by Bowie. Co-written with Brian Eno, this piece is inspired by Bowie's visit to the city of Warsaw, and the lyrics are based upon a Polish folk song called Helokanie. The words are sung phonetically, and not identifiable as a particular language or dialect. It's very emotive, and was infused with a sense of bleakness to reflect the feeling of Warsaw at the time, but there is some sense of hope in the music too. It makes me feel a sense of calm when the song shifts to those moments.

9. ART DECADE
Another stunning instrumental that feels like it could be on the soundtrack for Blade Runner. There's a sense of narrative here, that there's a story being played out. It's a great song to close your eyes to and imagine some sort of science fiction movie playing out in your brain. Again, influenced by what he saw, the title is a pun on 'art decayed', reflecting Bowie's impressions of post-war Berlin.

10. WEEPING WALL
The production on this number is a little sparser, with no percussion or bass. The driving force behind it is a pulsing keyboard part, while permeated by an industrial-sounding guitar. Bowie's voice comes back again halfway through this song, but is simply ahhs and ooohs, created a kind of vocal melody part without words. Indeed the deep noises made by Bowie would return again on the title track to 2016's ★. Bowie played all of the instruments himself on this one, but apparently, Iggy Pop is featured on backing vocals. 

11. SUBTERRANEANS
Another fairly sombre sounding track, and the final one of the album. Again, we are treated to an unsettling sonic soundscape, mainly consisting of various synths, xylophones and vibraphones accompanied by Bowie's wordless and deep drawls. A saxophone kicks into gear adding to the unease before the eerie vocal refrain of "share bride failing star" starts. Bowie repeats the words 'care-line' over and over before building in pitch and volume to deliver "Driving me, Shirley, Shirley, Shirley, own...". What it all means is anyone's guess, but it's an unsettling five minutes, and a bizarre way to finish an extraordinary album. It was actually recorded in LA at the end of 1975, allegedly meant for the aborted soundtrack of The Man Who Fell to Earth. The cover of the album is actually a still from that film as well. 

Wow.

I certainly enjoyed that. 4.5/5 - would listen again.

NEXT UP: Station to Station - 23rd January