Day 0392 - Lust for Life

Iggy Pop "Lust for Life" (1977) - got it

Rawk! Since his days with the Stooges, the punk rock sound that they'd been chipping away at had come of age and started to find its way into the mainstream consciousness, which must have offered up some degree of vindication to Iggy.  This, mixed with his positive experience making "The Idiot" restored his confidence, and he felt comfortable shaking off the more prominent Bowie influences from his sound to produce another slice of gritty Stooges-esque rock but now with more of an underlying pop flavour.

The singles 'Lust for life' and 'the Passenger' feel like instant classics.  'Success' is a raging exorcism and 'Turn blue' is brilliant, drawn out bluesy jam.

The rhythm section for the album are brothers Hunt and Tony Sales, who would go on to become half of Bowie's (I feel unjustly) maligned Tin Machine band.

Day 0378 - Low

David Bowie "Low" (1977) - got it

 

As I was listening to this album, I started to think about how this is the album where Bowie really became an artist in moving away from traditional song-forms (though that was also true of 'Station to station' to a certain extent).  As a famous singer, it was a reasonably daring move to produce largely instrumental music ("Speed of life"), or have his voice feature more as another instrument with equal billing in the mix ("Warszawa").

But of course that would be a fairly arbitrary and debatable notion; really you could just as easily say that Bowie became an artist when he started creating and inhabiting characters for his music to exist through, or when he started creating concept albums, or even when he started making music at all.

I think it would be more accurate to say that this was like when he saw Bolan doing glam and thought "I'll have a bit of that", or when he decided to investigate grunge, or techno/EDM in later years.  It was just a case of Bowie listening to krautrock and hearing people like Eno making avant, collage music and thinking "yeah, why not?!"

This album features a couple of favourites of mine, the bouncy "Sound and vision" with its compact harmonised vocals; and the majestic, beautiful 'Warszawa' that, with its chanting vocals and ambient textures, feels like it must have been an influence on my old favourite Mike Patton for some of his more atmospheric work.

A stylistic leap for Bowie and an absolute success (IMO).

Day 0351 - Station to Station

David Bowie "Station to Station" (1976) - got it

 
Originally planned to be titled "the White Duke" in a continuation of Bowie's character pieces such as Ziggy Stardust and Aladdin Sane.  However, in the midst of Bowie's personal (relationship breakup, battle with drugs) and musical uncertainty, he cast aside all of that to just deliver a "soul record, devoid of soul".

I’m not really one for choosing favourites, but this would sit fairly high in my ranking of Bowie albums. In some ways it’s neither fish nor fowl, having touches of his glam pop sound, his recent dalliance with danceable soul, and even hints of future directions, all with its own internal musical logic. Bowie breaks further away from the 3 minute pop/rock song formula in places to explore longer-form songs.

The title track, starts musically with the glam swagger of some of Bowie’s Aladdin Sane or Ziggy Stardust tracks (or Marc Bolan, of whom he was a fan) but the vocal melody has a much looser ‘jazz’ feel, weaving in and out of the grinding riffs.

“Golden Years” picks up on the funk/soul flavour of his previous ‘Young Americans’ album. It’s a brilliant song, a successful single… and yet not (IMO) even the best thing on here.

“TVC15” hints a little at the coming Berlin trilogy while still sounding a bit brit-poppy... a foot each in the past and the future.

"Word on a wing" has lyricism to its melody and Bowie’s delivery that is hard to quantify. The whole thing rounds off with 'Wild is the Wind' a vulnerable sounding Bowie vocal over a song that almost sounds like it could be an old Nancy Sinatra pop track.

Day 0273 - Aladdin Sane

David Bowie "Aladdin Sane" (1973)

 
There are not a lot of ch-ch-changes here, with what seems like a rare case of Bowie (either due to record company pressure or his own urge) re-treading familiar territory.

He follows the success of the Ziggy Stardust album with an offering that is in a similar androgynous glam-rock-alien, semi-concept album vein.  Two points of difference present themselves: one is an increased theatricality to the music, with none of the songs matching the more low-key moments of something like 'Rock n roll suicide', parts of 'Starman' or others... I think that is partly due to the increased presence of the piano, it just makes the songs feel a bit more grand and elegant. The other point of difference is a bit more space provided in the arrangements for his musicians (especially Mick Ronson) to shine.

There are some interesting things going on here; 'Time' and 'Lady Grinning Soul' sound to me like Bowie's Scott Walker fandom coming to the fore. The book describes the Rolling Stones cover 'Let's spend the night together' as a musical misstep, but to me it seems in a similar musical vein to 'Sufragette city', particularly with a little Bowie 'sparkle' infused in the riffs and could almost act as a musical 'sequel' to that track.

All in all, I feel as though it's not up to the standard of the previous Bowie album, but still enjoyable with some truly top-shelf moments, such as the title track, 'Time' and "Lady Grinning Soul".

Day 0267 - The Rise and fall of Ziggy Stardust and the Spiders from Mars

David Bowie "The Rise and fall of Ziggy Stardust and the Spiders from Mars" (1972) - got it

As with a few of the albums on the list, I didn't really need to listen to this one specifically for the 1001 albums thing, because it's indelibly printed on my synapses.  Having said that... I'll take any excuse to listen to some Bowie.

It's a lush, interesting, and immaculately crafted pop album.  All the more impressive that (aside from some sax and trumpet) it is pretty much just the standard "drums, bass, guitar, piano/keyboard and vocals".  Speaking of the vocals, they do really feel like they help to flesh out the arrangements.  Much of the shift from 'intimate' to 'grandiose' that comes when the choruses of "Starman" kick in comes from Bowie swinging between octaves in best "Somewhere over the rainbow" fashion.

Bowie's voice is sometimes gentle and confessional, sometimes brash and glammy, occasionally desperate and howling.  'Five years' has an almost Marlene Dietrich feel to it.  There's the gospel feel of 'It ain't easy', and 'Rock n roll suicide' might be the most perfect album closer ever conceived, going from a burnt out acoustic jam and building to a cathartic crescendo.

With the quality of music, it's no wonder that this album was a success in the US and UK, and lednew fans back to "Hunky Dory" and other previous releases.

Bowie reinvented himself and, with his androgynous alien persona, reinvented the idea of what a rock star could be. The black and white photo tinted after the fact just adds to the sci-fi/alien vibe that Bowie is putting out.

Day 0164 - Elephant Mountain

The Youngbloods "Elephant Mountain" (1969)

I really enjoyed this.  Laidback, pop and folk with bits of funky rock along the way.  It has a lot of kind of 'familiar' sounds.  At times there are hints of Led Zep's mellower moments, at other times you can hear various stages of the Beatles.

Some really beautiful melodies and chord sequences. Sunshiney acoustic songs.  "Double sunlight" in particular is gorgeous,

Day 0002 - Elvis Presley

Elvis Presley "Elvis Presley" (1956) got it

With some of these early albums by famous artists, I almost expect them to be a bit 'meh'.  It seems like they'll sound dated (especially with this album being recorded in different studios, years apart with many of the songs coming from Elvis' early sessions at Sun) or maybe a bit embryonic with the artist still finding their feet... but this album still sounds fresh, and vital right from the off.  From the jocular swagger of "one sided love affair" to the sweet and gentle rendition of "Blue Moon".

Whenever I listen to this album I feel like "yeah, I can see why he's referred to as 'the king'."
The music is accompanied by an appropriately lively album cover that would later by referenced by the Clash for 'London Calling'

Apparently this was the first rock n roll recording to enter the billboard charts... and so that whole thing began.