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

Black Tie White Noise

The first Bowie studio album after the rise and fall of Tin Machine has been somewhat unfairly maligned, in my opinion. So, on this day, the 28th anniversary of its release, I take a look back. This was the album that made me start paying attention again, and I joined what Q Magazine called the small group of people who still listened to Bowie after 1983. 

I was working in a music shop in Albany when I first heard this album. My boss there quite liked the cover of Cream's I Feel Free, so the CD got the odd spin on the inhouse system. Up until that point, my knowledge and exposure to Bowie was very much confined to the hits. The only albums of his I owned were compilations. 

Through being exposed to this CD on numerous occasions, I eventually became enamoured enough to purchase a copy. While not one of his better efforts, I still think it's a decent listen. The good definitely outweighs the bad, in my opinion, and I feel that this is more listenable than 1987's Never Let Me Down, 1995's 1. Outside, 1973's Pin Ups or even the second half of Let's Dance. I might be wrong here, but I think Bowie plays more saxophone on this record than any of his other ones. 

I really like the way it starts and ends with the same song, The Wedding (Song); albeit the opener is instrumental and the closing features vocals. It now seems to be a tip of the hat to 1980's Scary Monsters... being bookended by It's No Game parts 1 and 2. Apparently Bowie wrote it for his wedding ceremony when he and Iman married in April 1992. Another track here, Pallas Athena, was also written for their ceremony. The riots in L.A. after the Rodney King verdict were a big inspiration for the title track, and Bowie collaborated with American singer/songwriter Albert Joseph Brown III (AKA Al B. Sure!) on it. It's one of my favourite songs on the album, and I still think it holds up pretty well.

The aforementioned Cream cover and the record's first single Jump They Say have strong connections to Bowie's step-brother Terry. The latter is loosely about him being hospitalised with schizophrenia, and tragically, committing suicide. Bowie took Terry to a Cream concert in the late sixties, and during their rendition of I Feel Free, Terry started feeling very uneasy and eventually collapsed on the ground when they got outside. Bowie had starting working addressing his feelings surrounding Terry's death, and saw these songs as a way of moving forward. I Feel Free also has the notable distinction of including guitarist Mick Ronson, his first appearance on a Bowie album since Pin Ups. Ronson would unfortunately pass away shortly after this record's release. Also from Bowie's past comes Nile Rodgers, who not only co-produced the album, but co-wrote the instrumental track Looking for Lester. 

You've Been Around was written by Bowie and guitarist Reeves Gabrels while they were still part of Tin Machine, and is an okay track. While this is the only song to feature Gabrels in this album, he would become a big part of Bowie's 90s output. Indeed some of the songs here feel like a stepping stone between Tin Machine and 1. Outside or Earthling, particularly Pallas Athena. Other highlights for me include Don't Let Me Down & Down and the almost melodramatically performed cover of Morrisey's I Know It's Gonna Happen Someday. 

While the sound of the album is certainly a product of being made in the early nineties, I feel that time has been fairly kind to this record. It was during this period that Bowie started experimenting with CD-ROM including music videos and an interactive experience that would allow the user to remix some of the songs from the album. Although not received well, or being an accurate release of what Bowie envisaged, many artists in the 90s would use CD-ROM features on their new albums with mixed success.

I give this album 3/5. Would listen again, as I have done over nearly thirty years.

NEXT UP: Aladdin Sane - 13th April

Album of the Week - Vol. 19

Hitchhiker NEIL YOUNG (2017)
Week: Friday 26th March to Thursday 1st April
Format: Vinyl
Producer(s): Neil Young, David Briggs & John Hanlon
Track listing:
1. Pocahontas *
2. Powderfinger *
3. Captain Kennedy
4. Hawaii
5. Give Me Strength *
6. Ride My Llama
7. Hitchhiker *
8. Campaigner
9. Human Highway *
10. The Old Country Waltz
TOTAL RUNNING TIME: 33:44

Recorded in a single studio session on 11th August 1976, Neil Young's intent to release these songs as an album took 41 years to come to fruition. At the time, his record company (Reprise) baulked at the idea, and suggested full band arrangements for each of the tracks. More fool them. This is stripped to bare basics, and it's fantastic. Just Neil with his guitar and harmonica, except for the last song which is performed on a piano. It reminds me of Nick Drake's similarly stark Pink Moon, and both have the same fault of being too short. 

Except for Hawaii and Give Me Strength, all of these songs would appear on subsequent NY albums. The most recent occurrence being the title track, which was recorded in solo electric form for the 2010 album Le Noise, produced by Daniel Lanois. While it doesn't have the menace and growl of the newer version, this incarnation of Hitchhiker does still manage to be unnerving and imbued with small sense of paranoia. 

Three of these songs would arrive on 1979's excellent Rust Never Sleeps album, namely Pocahontas, Powderfinger and Ride My Llama. The former exists almost in the same form, but has a new vocal overdub. The latter is rerecorded before a live audience (as is the spirit of most of the album), but has a slightly different structure. Powderfinger is performed with Crazy Horse as part of the electric half of the album and is one of its highlights. To hear the song stripped down to its simplest form is quite something. As Paul Stanley once said of Kiss preparing for their 1996 MTV Unplugged performance, if a song doesn't work on an acoustic guitar, it's just a crappy song. Nothing more is needed here to express the emotion of the track. Wood, wire, skin and bones, as it were.

Human Highway was actually supposed to be the title track on CSNY's follow-up to their classic 1970 Déjà Vu album. There are even recordings of Young performing the song with Graham Nash and David Crosby in the mid seventies, but the record never materialised, despite their massive 1974 stadium tour. The world wouldn't get a second CSNY album until 1988's patchy American Dream. Human Highway was eventually recorded for Young's 1978 Comes A Time album, the closest relative to his Harvest smash. Again, hearing it here stripped of backing vocals and a band arrangement is like listening with fresh ears. I think I prefer this version to any other I've heard.

This take of Campaigner would see a release on Young's retrospective Decade in 1977, albeit with a verse removed, and Captain Kennedy shows up on 1980's Hawks & Doves as heard here. Both songs feel like they belong on this album. The former was one of a handful of unreleased songs to be included on Decade, and possibly was chosen due to its then-timely lyric stating that "even Richard Nixon has got soul". 

The album ends with The Old Country Waltz, played by Young on the piano, a far cry from the shambolic take with Crazy Horse on 1977's unfocused American Stars 'n Bars. In my mind, this is the weakest track here, but it is still very listenable, and I much prefer this version to the band one. Hawaii is probably the only other contender for that title, but again, is still quite good. When Young sings the title in the chorus his falsetto is eerie and unsettling. 

This leave us with Give Me Strength, which I really dig, and like Hawaii, I had not heard before. It's quite a nice song about loss and trying to move on, and I think it's a shame it was never revisited or released before this came out. There are a few flubs on the track, and that might be a reason it stayed in the vault, but I think it adds to the song's charm, and as result, the whole album.

The biggest travesty here is that the album stayed on the shelf for so long. It's a wonderful look into the mind of Young who was just coming out of his so-called 'Ditch trilogy' period and starting to look ahead. The deaths of Crazy Horse singer/guitarist Danny Whitten and roadie Bruce Berry affected Young profoundly, and had a cathartic effect on the music he produced following their passings. Here he seems a little dazed still, but trying to fight through the fog, and carry on. I'm so glad that he did. I first listened to this album shortly after its release via the excellent Neil Young Archives. Obtaining a copy on vinyl by the time I decided I wanted to own it proved a challenge, but good things come to those who persist!

Album of the Week - Vol. 18

Stop Making Sense: Special New Edition TALKING HEADS (1999)
Week: Tuesday 2nd to Monday 8th March
Format: CD
Producer(s): Talking Heads and Gary Goetzman
Track listing:
1. Psycho Killer *
2. Heaven
3. Thank You For Sending Me an Angel
4. Found a Job
5. Slippery People *
6. Burning Down the House
7. Life During Wartime
8. Making Flippy Floppy *
9. Swamp
10. What A Day That Was
11. This Must Be the Place (Naive Melody) *
12. Once In a Lifetime *
13. Genius of Love - The Tom Tom Club
14. Girlfriend is Better *
15. Take Me to the River
16. Crosseyed and Painless
TOTAL RUNNING TIME: 74:16

Well, this album has a lot of sentimental value for me. I'm 90% sure it was the first CD I ever bought. Well, it was either this or Billy Joel's Storm Front. It was a heady time. I was 13 going on 14, and living in Albany. My dad had taken the plunge to follow the CD revolution in mid-1989 I think. The first CD the household ever had was Jenny Morris' Shiver. I have a feeling that the next three were Cher's Heart of Stone, The Rolling Stones' Steel Wheels and possibly Mystery Girl by Roy Orbison. 

Anyway, getting back to this Talking Heads album. I had been aware of Talking Heads in the eighties. I remember Once In a Lifetime playing over the opening credits of Down and Out In Beverly Hills, and I had thought enough of their 1985 single And She Was to buy the Little Creatures album on cassette. I have vague recollections of the movie Stop Making Sense being released, and I think I remember seeing posters, but I never saw it.

In the summer of 1989/90, I was involved in a local production of an original play called Hansel & Gretel. Very loosely based on the famous Grimm tale, my character Humperdinck had four arms, while my two sisters had none. I forget their names now...but I digress! During some rehearsal breaks, and definitely while setting up for a brief run in Mt Barker, a copy of Talking Heads' Stop Making Sense album played over a boombox. This was the way I heard the songs Psycho Killer and Burning Down the House for the first time. I'd always known the former to be a solo acoustic number. When I finally heard the original 1977 single some years later, I didn't recognise it until it reached the chorus. 

Throughout the run of the play I grew quite fond of the album, so I decided to get my hands on it to remind me of that time. My dad was a member of the Australian Record Club, and I gave him some of my pocket money and asked if he could order me a copy of Stop Making Sense. The first CD I ever bought! I'm pretty sure...'bout 82% sure, I think...

Fast forward to the fairly recent-ish present, and I'm revisiting the album for a reason other than sentimentality. As I'd previously mentioned, I never saw the film, but a happy coincidence led me to the video on YouTube! I had hunted for the DVD or Blu-ray for a few years, but never found one. So, it was a mini-revelation to actually watch the movie this album had come from. I was surprised by some slight differences in the versions on the album to the film, but they were only minor. I also learnt that the 1984 record track listing wasn't in the same order as they appeared in the movie. I knew that there were more songs in the movie though, and after watching (and really enjoying) Stop Making Sense, I decided to find a copy of the 1999 Special New Edition, which included all of them!

The original release only featured nine songs, so the extra tracks add nearly 30min to the running time. The album artwork contained several (semi-rhetorical?) questions:

Why "Stop Making Sense"?

Why a movie? Why tour?

Why do the musicians come out gradually?

What will the band do next?

Where do the odd movements come from?

...and so on. It was the third question there that really puzzled me. The musicians come out gradually? The album kicked off with David Byrne playing Psycho Killer on his own, yeah, so far, that seems right. But the second track was Swamp, which sounded like a full band to me. By the third song, Slippery People, I was calling bullshit to that claim. He he he, yeah, didn't realise the album wasn't in order of appearance in the film! That's a big pet peeve of mine. I hate it when soundtracks don't have the songs in the order they appear. Or fail to have all or most of the tracks featured in the movies. Comprehensive soundtrack albums like Marie Antoinette and Baby Driver get a big thumbs up from me! 

Anyway, back to Stop Making Sense. I think this album (and film) is a wonderful document of Talking Heads at their creative and influential peak. To have seen it now, and know that after David finished Psycho Killer, he is joined by Tina Weymouth on bass to perform Heaven is fantastic. The female vocals are sung offstage by backing singer Lynn Mabry, but yes, its just the two of them. Bizarrely, I'd heard this song before, and I was unaware that it was a Talking Heads song! Simply Red cover it on their Picture Book album, which I own. Their version is quite different, and it was only the lyrics that I recognised really. 

Drummer Chris Frantz is then wheeled out to join the pair for an excellent rendition of Thank You For Finding Me An Angel, the opening track of their second album More Songs About Buildings and Food. Completing the core quartet is guitarist/keyboardist Jerry Harrison who comes out to play on Found a Job, also from their second record. Not heard these versions before seeing the film, and I think they're very good. I wonder why the whole setlist wasn't released on the album the first time around? In addition to the Talking Heads band members, there are performances from Bernie Worrell on keyboards, guitarist Alex Weir, percussionist Steve Scales, and the wonderful Ednah Holt and Lynn Mabry on backing vocals. 

It's worth noting as well for those who haven't seen the film, that the first few numbers are performed while the stage is still being set up. It almost feels like the show has started before the venue is ready. As the musicians come out, more touches are added, until it looks like a rock concert, complete with a black curtain backdrop. 

Most of my favourite tracks are from the original nine song album release, particularly Once in a Lifetime, Slippery People and Girlfriend Is Better, the latter containing the lyric "stop making sense". I really like their live version of This Must Be the Place (Naive Melody) and I'd not heard Making Flippy Floppy before, but I dig it! Interestingly, David Byrne leaves the stage to allow Chris & Tina to perform Genius of Love, a minor hit for their side-project band The Tom Tom Club. A nice addition, but an unusual choice, I would have thought. The bulk of the set is from their current release at the time, 1983's Speaking in Tongues. 

But yes, this is a great album made better by its re-release. An album full of old and new memories for me, and will I always think of it with a special fondness.

Still from Stop Making Sense

The Next Day

On David Bowie's 66th birthday, he gave us all a present. He released the video clip to a new single, Where Are We Now?, his first release of original music in nearly ten years. After suffering a heart attack in Germany during his Reality tour in 2004, Bowie disappeared from the public eye. He basically vanished, and save for one or two live appearances or paparazzi snaps, we didn't see the man! I remember seeing a tweet from his account citing Lou Reed's collaboration with Metallica was hugely inspiring for him. Something along the lines of Bowie expressing that he was pretty much content with retired life until Reed 'inspired the hell out of him'. 

Some time after that tweet, he released a new single and video, and the news of a full album to follow in March. This would be his 24th studio album, and his first one since 2003's Reality. Today marks eight years since The Next Day was released, with a bizarre cover that utilised the artwork of "Heroes" and a little bit of redacting. I'm not sure what was behind the usage of the 1977 album. Was it hinting that this record was going to be a continuation of the Berlin trilogy sonic landscape? Or was it a signal to ignore the past recordings and take it as something new? 

To me, this album sounds like a continuation of the fine work he did with the Heathen and Reality releases in the early 2000s. Indeed, most of the musicians who played on those albums and the subsequent Reality

tour are here. Bowie's touring MD and guitarist Gerry Leonard plays on most tracks, as does bassist/vocalist Gail Ann Dorsey. Drummer Stirling Campbell only contributes to two tracks, with former Bowie band alumni Zack Alford picking up the majority of the (drum)sticks. Earl Slick plays guitar on a few tracks, but David Thorn loops the strings for most of the album. Producer Tony Visconti also contributes guitar, bass guitar and recorder(!), and legendary bassist Tony Levin appears on three songs too. Longtime Bowie collaborator Mike Garson is auspiciously absent, with Henry Hey playing piano on a couple of tracks, and Bowie himself handling most of the keyboard work. 

The album starts off with a bang, as the title track not so much starts, but launches. Bowie is asserting his return in no uncertain terms: "Here I am/Not quite dying/My body left to rot in a hollow tree" while the band crunches through a near-perfect three and half minute pop/rock single. The video accompanying this song is also quite odd, featuring Gary Oldman and Marion Cotillard.  

Other singles released from the album are all quite strong too. Valentine's Day looks inside the mind of a mass murderer without pity or glorification and final release Love Is Lost is another tight pop/rock track. The second single The Stars (Are Out Tonight) is a big highlight of the record as it examines the obsession some have with celebrities, featuring Tilda Swinton its video. 

Getting back to that first single, Where Are We Now?, I can remember watching it for the first time. It's a lovely song, and the simple, slow introspective feel resonates with me strongly. By the time Bowie gets to the last few lines I start welling up a little: 

"As long as there's sun/As long as there's sun

As long as there's rain/As long as there's rain

As long as there's fire/As long as there's fire

As long as there's me/As long as there's you..."

I can also remember the fervour on social media, Twitter especially, surrounding the new release. There was an excitement surging from the Bowie faithful...it was a Bowie birthday miracle!

After two months of waiting, I went and grabbed a copy of The Next Day as soon as it was released. Having spent as much time with it over the last couple of days as I did back then, I experienced great waves of nostalgia and excitement as I reconnected with the album. The first half of the record is very strong, and all five singles are housed there. Dirty Boys and If You Can See Me are a little weaker in comparison, particularly the former. 

The rest of The Next Day is certainly listenable, but nothing spectacular. Out of the last seven songs, I'd pick I'd Rather Be High and (You Will) Set the World on Fire as my favourites. If nothing else, this was an album many of us didn't expect to get. The return of David Bowie after a ten year lull was something special. Little did we know that he only had three years left on planet Earth.

I give this album 3/5 and I just listened to it again.

NEXT UP: Black Tie White Noise - 5th April

Young Americans

It was forty six years ago today that Bowie released his ninth studio album; one that well and truly marked the end of his Ziggy Stardust persona. Digging into what would become known as the blue-eyed soul genre, Bowie set up camp in Philadelphia at Sigma Sound Studios after the end of the first half of his Diamond Dogs tour in 1974. Famously utilising the wonderful vocal talents of Ava Cherry, Robin Clark and Luther Vandross, this album also marks the first studio album co-produced by Tony Visconti since 1970's The Man Who Sold The World.

Also in Bowie's band for this record were pianist extraordinaire Mike Garson, guitarist Carlos Alomar (Clark's husband), legendary bassist Willie Weeks, and Andy Newmark on drums. Joining them on the saxophone was David Sanborn, and Bowie himself contributed guitar and keyboards. From these sessions came the fabulous title track and other album highlights including Can You Hear Me? and Right. 

There is a soulful feel to these recordings, as the band strike a balance between early disco and classic R&B. Quite a few songs cut during this time didn't make the final album including a cover of Springsteen's It's Hard To Be A Saint in the City, After Today, Who Can I Be Now?, It's Gonna Be Me and a re-recording of John, I'm Only Dancing, titled John, I'm Only Dancing (Again).  

The backing vocals make for some compelling listening, particularly on Right where there are some rapid fire lines delivered, which apparently were arranged just as Bowie heard them in his head:

"Wishing.."

"Wishing you.."

"..that.."

"Sometimes.."

"Doing it"

"Doing it right

"Til.."

"One time"

"..gets you when you're down.."

"Nobody!"

After the second half of the Diamond Dogs tour concluded, Bowie took the group to the Record Plant studio in New York to cut two new songs: the gently lilting Win and the upbeat Fascination, the latter co-written with Vandross. With the album pretty much complete, Visconti began mixing what he thought was the final product in London. Bowie remained in New York working on other mixes with engineer Harry Maslin. 

Bowie had recently met and befriended John Lennon, who was at the Record Plant working on his Rock 'n' Roll album during this time. The two pair decided to do some recording together at Electric Lady Studios in January 1975. Without Visconti, Harry Maslin was called in to co-produce the songs, and he would later go on to produce Station to Station. Also present were guitarist Earl Slick, drummer Dennis Davis (first time on a Bowie record for both), bassist Emir Kassan, percussionist Ralph McDonald and backing singers Jean Fineberg and Jean Millington. Oh, and Carlos Alomar, of course!

This would yield two tracks, a cover of Across the Universe and Fame, which was co-written by Bowie with Lennon and Alomar. Delighted with these recordings, Bowie added them to the Young Americans album, usurping the aforementioned Who Can I Be Now? and It's Gonna Be Me; much to Visconti's alleged dismay. While the Beatles cover is a semi-interesting, albeit somewhat unnecessary, re-working of the Lennon tune, Fame is arguably the album highlight. With a stabbing guitar groove and a relentlessly plodding bassline, the song has a looseness that tightens up just when it needs to. Indeed, it's difficult to imagine this record without it.

Young Americans, the song and album, haven't been as revered as other entries in Bowie's body of work, but I think the title track is worth the price of admission. When the drums kick off the title track, that piano sweeps in and that hooky sax line begins it's pretty joyful. It would rank as one of my favourite Bowie songs, and definitely one of the biggest high-points on this record; next to Fame, of course. 

Even though the record only has eight songs on it, the running time still reaches the forty minute mark. Some of those tracks that didn't make the cut could possibly have fit, or the overlong Somebody Up There Like Me could have been significantly shortened. There is an unreleased album, The Gouster, which features a seven-song track listing that includes Who Can I Be Now? and It's Gonna Be Me. There are different takes and mixes of songs that are on Young Americans, with the only the title track remaining the same. Nothing recorded after the Record Plant sessions in New York is included; so, no Fame, Win, Fascination or Across the Universe. The album is available as part of the Who Can I Be Now? (1974-1976) box set. 

While it's not one of my favourite Bowie albums, there is a lot to like about it. I give this 3.5/5 and would listen again.

NEXT UP: The Next Day - 8th March

Album of the Week - Vol. 17

Feels Like Home NORAH JONES (2004)
Week: Sun 21st to Sat 27th Feb
Format: LP
Producer(s): Arif Mardin & Norah Jones
Track listing:
1. Sunrise *
2. What Am I to You? *
3. Those Sweet Words *
4. Carnival Town
5. In the Morning 
6. Be Here to Love Me
7. Creepin' In 
8. Toes
9. Humble Me *
10. Above Ground
11. The Long Way Home *
12. The Prettiest Thing
13. Don't Miss You At All
TOTAL RUNNING TIME: 46:26

The incredibly talented Norah Jones found massive international success with her 2002 debut album, Come Away With Me. The record would win a swag of awards and go to sell more than 27 million copies worldwide. No pressure for a follow-up. The 'difficult second album' could have been a carbon copy of her first, but she leant further into a country/pop direction. Keeping the jazz/folk vibes of the debut, she released this effort almost two years to the day after that record.

In my opinion, this is a much better album. There are some terrific songs on Come Away With Me, the title track and the hit Don't Know Why to name a couple, but it feels like a bunch of songs that have been thrown together. Feels Like Home has a similar mix of covers and originals, but it flows better. There's a cohesion to this set of songs that is very aurally pleasing, especially to this listener. 

Starting with a simple bass line before Jones' twinkly piano kicks in, Sunrise is possibly one of the best songs of her career. It's a fantastic way to open the album as it feels like an awakening, a new day. Forget the album before, this is a new one. Her effortlessly-delivered, breathy vocals wash over you like the rays of the sun. The song was co-written by bassist Lee Alexander, who also contributed to Come Away With Me and 2007's Not Too Late. 

Along with Alexander, guitarists Adam Levy and Jesse Harris return on this record, the latter being the songwriter behind her hit Don't Know Why. Harris just plays on two tracks however, with more guitaring duties going to Canadian singer/songwriter Kevin Breit. Jones does a great version of his song Humble Me here as well. Whereas Brian Blade played most of the drum tracks on Come Away With Me, he only appears on The Prettiest Thing with the lion's share of the drumming coming from Andrew Borger. 

Some stellar guests appear on the album, with Creepin' In featuring none other than Dolly Parton. The fun tune would earn a Grammy nom for Best Country Collaboration with Vocals. Renowned classically-trained cellist Jane Scarpantoni contributes to the track Carnival Town and jazz/folk singer/songwriter Tony Scherr pops in to play guitar on the Jones-penned What I Am to You?. Former members of The Band, Levon Helm and Garth Hudson also appear on the aforementioned track, on drums and Hammond organ respectively. Hudson also lends some gentlemanly accordion to a fabulous rendition of Townes Van Zandt's Be Here to Love Me.

One of my absolute favourite moments on this record is The Long Way Home, which I only recently discovered was a Tom Waits cover. One of many songs he co-wrote with his partner Kathleen Brennan, the track appeared on Waits' sprawling rarities box set Orphans: Brawlers, Bawlers & Bastards, two years after the release of this album. Other highlights for me include Levy's In The Morning and Those Sweet Words, written by Alexander with Richard Julian, who is part of the country supergroup featuring Jones and Alexander, The Little Willies. 

Not one to be pigeonholed, Jones would release the pop-heavy album The Fall in 2009 and employed Danger Mouse (Brian Burton) to produce 2012's Little Broken Hearts. A frequent collaborator, a compilation dedicated to songs she appears on ...Featuring Norah Jones was issued in 2010. One of the more surprising albums Jones released was one she did with Green Day's Billie Joe Armstrong. 2013's Foreverly was a song by song cover of The Everly Brothers 1958 album Songs Our Daddy Taught Us. Her most recent work has featured more original music and less covers with her writing or co-writing all of the songs on her most recent album, Pick Me Up Off the Floor. 

This is a great album to put on as the sun is going down and you enjoy that first drink of the evening with a loved one. Jones' voice is so easy to listen to, and the musicians she's surrounded herself with know how to enhance the songs she's chosen without getting in their way. Simply stunning.