by Paul Trynka
Heathen
Recorded: Mostly August – September 2001; Allaire Studios, New York State, and Looking Glass, NYC.
Released: ISO/Columbia, June 2002.
Chart Peak: 5 (UK); 14 (US).
Key Personnel: Tony Visconti (bs); Matt Chamberlain (dms); David Torn (gtr); plus guests including Pete Townshend and Dave Grohl.
Producers: David Bowie and Tony Visconti.
Bowie’s long-awaited reunion with Tony Visconti was almost unassuming; gone were the intense sonic textures, overlayered production and the sense that Bowie had tried too hard. In its place was simple, unassuming songwriting, a sense of clarity – and, above all, that wonderful voice, a glory pretty much absent since Baal, Bowie’s last work with Tony Visconti. On first listening, songs like ‘Slip Away’ and ‘Everyone Says Hi’ perhaps sound unadventurous, too tasteful and luxurious, with their smooth fretless bass and luscious strings – but they have that niggling sense of unease that draw the listener back in. ‘Sunday’ and ‘Heathen’, with their spiralling, disturbing instrumentation, are enchanting, intriguing dramas, showcasing the immense potential of Bowie’s reunion with his best-known producer.
Reality
Recorded: January 2003, Looking Glass, NYC.
Released: ISO/Columbia, September 2003.
Chart Peak: 3 (UK); 29 (US).
Key Personnel: Gerry Leonard, Earl Slick, David Torn (gtr); Mark Plati (bs); Sterling Campbell (dms); Mike Garson (pno).
Producers: David Bowie and Tony Visconti.
Thirty years on from the albums that made his name, Reality shows Bowie as the consummate professional. The angst and paranoia is seemingly consigned to the past, in favour of a reassuringly familiar edginess: ‘Pablo Picasso’ is, as you’d guess, quintessential art rock, ‘The Modern Lovers’ meets Bob Dylan; the throbbing ‘She’ll Drive the Big Car’ is vaguely reminiscent of ‘Ashes to Ashes’; ‘Days’ is a conventional, confessional love song (‘all you gave, you gave for free … I gave nothing in return’). It’s all intriguing, but faintly familiar – the outsider has finally come in from the cold. Yet there is still darkness in this heart, above all on the magnificent ‘Bring Me the Disco King’: Mike Garson’s majestic piano echoes into the distance, Bowie’s voice is foregrounded, more prominent than on any previous recordings, revealing new depths of experience and musicality. It holds out an intriguing prospect – that rather than simply revisit his past, like so many of his peers, David Bowie retains the potential to conjure up pleasures as yet unknown.
NOTES AND SOURCES
Unless specifically referenced otherwise, all sources refer to the author’s own interviews. A full list of interviewees follows at the end of this section. I’ve endeavoured to acknowledge every significant quote and fact presented in this book; in time I will post more background information – deleted scenes, alternate takes, but hopefully no corrections – at www.trynka.com.
1 When I’m Five
Opening paragraph is based on interview with Eric Schermerhorn. Description of Brixton draws on recollections from Roger Bolden, who lived at 7, Stansfield Road, David West, Linda Stagg, Sue Larner, Linda McCartney, Barbara Gray, Suzanne Goldschmitt and Val Wilmer (who lived nearby in Streatham, and would later become a key expert on Caribbean culture in Brixton). The problems for mothers attempting to buy nappies and candles around December 1947 were recorded by Florence Speed, Grace Golden and Judy Haines for their Mass-Observation diaries, and were quoted in David Kynaston’s Austerity Britain (Bloomsbury, 2007), a superb depiction of this largely forgotten era, which was complemented by Dominic Sandbrook’s Never Had it So Good (Abacus, 2006) and Peter Hennessy’s Having it So Good (Allen Lane, 2006).
Information on the Jones family’s tenure in Brixton comes from electoral records in Lambeth Archives. Background information on David’s family comes from Ken Pitt’s Bowie: The Pitt Report, and Peter and Leni Gillman’s Alias David Bowie, both of which drew on interviews with Pat Antoniou; information on Haywood Jones’ Barnardo’s career was supplied by Dorothy Howes at the charity; helpful recollections of Peggy were provided by her friend Aubrey Goodchild.
Early Bromley and Burnt Ash memories: Max Batten, John Barrance, Richard Comben, Susan Hill, Gill Hymas, Jan Powling, Peter Prickett; ex-Bromley Tech pupils and friends who all offered helpful insights include Mike Bassett, Chris Britton, Nick Brooks, Peter Davidson, Greg D’Souza, John Edmonds, Pete Goodchild, Cary Granger, John Kendall, Len Outridge, Colin Ovenden, Brian Payne, Howard Phillips, Alan Reader, Andy Twiner, Adrian White and Keith Wilkinson. David’s Quatermass recollections, and later quotes on his early recording-buying habits, come from his 2006 ‘Nokia Music Recommenders’ story. ‘Everyone finds empathy in a nutty family’ is from David’s 1976 Playboy interview with Cameron Crowe. The conclusion in the final paragraph that George Underwood, rather than David, was the ‘Boy Most Likely To’ comes from many Bromley kids who remember his presence on the stage, rather than David’s; as yet another contemporary, Roger Bevan, puts it, ‘George was the singer, we all remember his Elvis impressions and everyone reckoned he was going to be big.’
2 ‘Numero Uno, Mate!’
Main sources include George Underwood, who was interviewed for a MOJO feature on the recording of ‘Liza Jane’, Geoff MacCormack, Dorothy Bass, Les Conn, David Hadfield and Dick Taylor. Quotes on David’s job at Nevin D. Hirst from Mat Snow’s interview for Q, 1995. David’s recollections of hanging out with Marc Bolan from are Paul Du Noyer’s MOJO interview, July 2002. This interview, and Du Noyer’s later thoughts and insightful comments, can be found at his website, www.pauldunoyer.com. The date of The King Bees’ public debut, and other details, come from John Bloom’s It’s No Sin to Make a Profit (W.H. Allen, 1970). Special thanks to Dorothy Bass, whose diary of those early days was hugely helpful in pinning down The King Bees’ live dates, and who has recorded a typical week in a Bromley teen’s life as follows: Monday: R&B at the Bromley Court Hotel or the Marquee; Tuesday: R&B at the 100 Club; Wednesday: R&B/Jazz at the Court or Folk at the Star & Garter (Bromley High Street); Thursday: R&B at the Marquee or Trad at the Court; Friday: R&B at the Bell or the Court or Folk at Catford Bridge (presumably a pub in Catford); Saturday: Modern Jazz at the Marquee.
3 Thinking About Me
The Manish Boys section relies on recollections from band members Bob Solly, Paul Rodriguez, Woolf Byrne, Johnny Flux and Mick Whitehead; special thanks to Bob and Woolf for the access to their diaries and cuttings. Lower Third interviewees were Denis Taylor and Graham Rivens. Special thanks to Kenny Bell, who invited me to a Pinot Grigio-fuelled Denmark Street reunion which featured many key figures of that era, including Mike Berry, Terry King and Simon White. Terry King and John Singer provided invaluable insights into the background of Ralph Horton; other key interviewees were Shel Talmy, Wayne Bardell, Kenney Jones, Jeff Dexter and Tony Hatch. Information on Marc Bolan’s early career is from Mark Paytress’ wonderful book Bolan: The Rise and Fall of a 20th Century Superstar (Omnibus, 2006).
4 Laughing Gnome
Principal sources, in addition to those detailed for the previous chapter, are Ken Pitt, Hugh Mendl, Mike Vernon, Tony Hall, Derek ‘Dek’ Fearnley, John ‘Hutch’ Hutchinson, Alan Mair, Tom Parker and Neil Slaven. Most dates quoted come from Ken Pitt’s paperwork and Decca records. Special thanks to The Riot Squad, one of the most mysterious bands ever to play behind David; I was treated to an impromptu Squad reunion with Bob Flag, George Butcher and Del Roll in an Essex pub, which gave me a wonderful insight into those carefree, zany days. Thanks to Paolo Hewitt, Jeff Dexter and Graham Marsh for sharing their thoughts on Mod, and Marcus Gray for sharing his insights into the Deram/Essex connection, and also pointing out the Ian Brady and Myra Hindley references in ‘Please Mr. Gravedigger’.
5 I Wish Something Would Happen
Principal interviewees: Chris Welch, Ken Pitt, Hugh Mendl, Tony Visconti, Steve Chapman, Lindsay Kemp, Mick Farren, Gordon Rose, Michael Garrett, Jeff Dexter, Vernon Dewhurst, Ray St
evenson, John Hutchinson. The story of how David discovered Jacques Brel via Lesley Duncan comes from David’s ‘Nokia Recommends: Sounds of My Universe’ interview (although David doesn’t mention Lesley by name). David’s ‘he got all sniffy’ quote about Marc Bolan is from Paul Du Noyer’s Bowie interview, MOJO, July 2002; David’s description of Terry’s schizophrenic fit during the Cream show at the Bromel Club comes from his NME interview, March 1993.
6 Check Ignition
Main sources: Ray Stevenson, Keith Christmas, Alan Mair, Tony Visconti, Calvin Mark Lee, Simon Hayes, Mark Pritchett, Angie Bowie, Terry Cox, John Cambridge, Tim Renwick, Gron Kelly, Olav Wyper, David Bebbington, Jeff Griffin. The account of how the Philips album was recorded cross-references the memories of Cambridge, Renwick, Christmas and Tony Visconti. The author’s own interview with Gus Dudgeon has been greatly improved with a transcript of a longer, more detailed interview conducted by Fred Dellar in March 1978. Bowie fans will notice I don’t mention Tony Visconti’s anecdote about how Mick Ronson attended the final overdubs for the Philips album, principally because Visconti believed Cambridge had brought Mick to the session – and John is adamant that he did not.
7 All The Madmen
Opening description is based mainly on interviews with Mark Pritchett, whose mother Donna was housekeeper at Haddon Hall. The description of Pitt’s visit to the session for ‘The Prettiest Star’ derives from my interview with David Bebbington, cross-referenced with Tony Visconti; Bebbington also attended the Arts Lab session at which David first mentioned his half-brother, Terry. Early history of Mick Ronson is based on accounts by Keith Herd – who recorded The Rats’ first sessions – Rats bassist Keith Cheesman, Rats drummer John Cambridge and Ronno bassist Trevor Bolder. Other sources for the chapter include Jeff Griffin, Ray Stevenson, Laurence Myers, Olav Wyper and Ken Scott – whose account is crucial because it confirms Visconti’s suggestions that he and Ronson were solely responsible for major sections of The Man Who Sold the World. Lastly, Mick Farren’s contention that David quoted Kahlil Gibran or Nietzsche on the basis of reading book jackets is confirmed by Dai Davies, who spent many late nights discussing philosophy with David the following year.
8 Kooks
Main interviews for this chapter: Bob Grace, Bill Harry, Anya Wilson, Herbie Flowers, Henry Spinetti, Robin McBride, Ron Oberman, John Mendelssohn, Ken Scott, Trevor Bolder, Leee Childers, Tony Zanetta and Robin Mayhew. Much of the information on Tony Defries comes from David Thompson, who collaborated with Tony on an abandoned autobiography; his information was augmented by interviews with Laurence Myers – who is often written out of the story – and Olav Wyper. Tony Visconti’s account of his dealings with Tony Defries come from his book, Bowie, Bolan and the Brooklyn Boy (HarperCollins, 2007); Angie Bowie’s description of Zowie’s birth is based on her account in Backstage Passes. Details of how David’s new deal left him with an obligation to Essex Music – ultimately settled with several Scary Monsters songs, including ‘Up the Hill Backwards’ – were provided by Simon Platz. The story of David meeting Doug Yule and thinking he was Lou Reed was described in Record Collector magazine, September 2001. Robert Kensell, a Sombrero regular, gave a great account of the club. Special thanks to Mark Pritchett, who provided unique insights into Bowie’s songwriting during the most crucial period of his career. Evidence that David initially intended to book Herbie Flowers and Tim Renwick for his ‘Kooks’ BBC session came from Jeff Griffin, who has a booking sheet dated just one week earlier, which names them in the band line-up, replaced by the future Spiders at the last moment.
9 Over the Rainbow
Main sources for David and Defries’ trip to RCA are Danny Fields, Iggy Pop, Lisa Robinson and Tony Zanetta. Throughout this period, Tony Zanetta is an excellent, objective source, and I’m grateful to him for subjecting to perhaps a dozen interviews. Zanetta and Henry Edwards’ book Stardust (Michael Joseph, 1986) has been widely criticised – by Nicholas Pegg, among others – but while its coverage of the other eras is flaky, it gives a brilliant overview of the MainMan years. For the runup to the ‘I’m gay and I always have been’ Melody Maker interview, Dai Davies – perhaps David’s closest, most objective confidant of the period – was an inexhaustible, definitive source of insights. It was also Dai Davies, as one of those dealing closely with Ronson, who points out that his misgivings about The Spiders’ makeover were more about muso credibility than homophobia in Hull (which of course did, and does, exist). The fact that ‘Somewhere Over the Rainbow’ was also plagiarised for ‘The White Cliffs of Dover’ was first pointed out by musicologists interviewed for a Radio 4 documentary in October 2009, dedicated to the wartime anthem (incidentally, there are no bluebirds over Dover). Barry Bethes quote courtesy of Mike Berry. Other interviews: Leee Childers, Tom Parker, Kris Needs, Will Palin, Trevor Bolder, Ken Scott, Mark Pritchett, Robin Mayhew, Jeff Dexter, Dave Marsh, Herbie Flowers, Suzi Fussey, Matthew Fisher, Lindsay Kemp. Spider Special recipe is courtesy of Will Palin. Ian Hunter interview is courtesy of Kris Needs. David Bowie wrote about The Legendary Stardust Cowboy and Vince Taylor, one inspiration for Ziggy, in the edition of MOJO which he guest-edited in July 2002; David’s account of the creation of the Ziggy jumpsuits comes from Moonage Daydream: The Life and Times of Ziggy Stardust by Bowie and Mick Rock (Palazzo, 2005).
10 Battle Cries and Champagne
The account of the Cleveland aftershow, the writing of ‘The Jean Genie’ and the problems recording ‘Panic in Detroit’ come from Trevor Bolder. Main sources are as for the previous chapter, with the addition of Scott Richardson, James Williamson, John ‘Hutch’ Hutchinson and Ava Cherry. Descriptions of David’s boat trip, and attendance at the Bruce Springsteen show, are described by Geoff MacCormack in his book From Station to Station (Genesis, 2007). Special thanks to Rodney Bingenheimer for putting me in touch with six of the Rodney’s English Disco regulars, including Kathy Heller, Nancy McCrado and Lori Madox. The effects of Scientology on the MainMan organisation were described primarily by Trevor Bolder and Robin Mayhew. The Iggy quote about ‘rolling my eyes’ comes from Cliff Jones’ interview with Iggy in 1996. (Iggy was always much more polite about his ex-buddy during my interviews with him.) David’s ‘highly symbolic’ quote, illustrating just how early his marriage seemed doomed, comes from Mick Rock’s Moonage Daydream. Ian Hunter’s ‘holding up well’ observations about Bowie, and some other dates, come from his excellent Diary of a Rock ‘n’ Roll Star. Additional research on this chapter, specifically the Mike Garson interview, is by one-time Mott The Hoople fanclub organiser, Kris Needs.
11 Star
Descriptions of the US routine are based on interviews with Bolder, Zanetta, Mayhew, Fussey, Davies and Hutchinson, augmented with dates and references from Zanetta’s Stardust, MacCormack’s Station to Station and Mick Rock’s Moonage Daydream. Details of The Spiders’ attempts to sign to Columbia are based on Trevor Bolder’s account; David’s seduction of Lulu, with Angie Bowie in pursuit, was witnessed by John Hutchinson, and recently confirmed by Lulu in her autobiography I Don’t Want to Fight (Time Warner, 2003). Other sources include interviewees from the previous chapter, plus Ken Scott, Scott Richardson, Jayne County, Mark Pritchett, Hugh Attwooll and Ava Cherry. Descriptions of the interior of Oakley Street come from its decorators, Mick Gillah, Chris Goodchild and Aubrey Goodchild.
12 The Changing isn’t Free
David’s relationship with Mick Jagger was sketched out primarily by Ava Cherry, Scott Richardson and the pair’s agent, Maggie Abbott. Diamond Dogs description, and especially the genesis of ‘Rebel Rebel’, comes from Alan Parker and Herbie Flowers. Especial thanks to the ever-diplomatic Herbie for an objective view of a controversy which has fascinated musicians for years, including Nile Rodgers, who points out, ‘I could never believe it was David played that guitar.’ Other sources are as for the previous chapter, plus Wayne Bardell, Keith Christmas and Carlos Alomar. The Apollo dates were supplied by the Frank Schiffman Apollo Theatre Collection – thanks to Ch
ristine S. Windheuser of the NMAH Archives Center. David went to at least two Apollo shows, one around 18 September, with comic Frankyln Ajaye, The Spinners and The Temptations. Richard Pryor and The Main Ingredient shared a bill on 26 April with Inner Voices, who were out on prison leave. The archives contain brief assessments of each performance: Richard Pryor, still to achieve widespread fame on Saturday Night Live, is pronounced: ‘Dirty, dirty! But funny, funny! Absolute control of audience … Excellent!’ Descriptions of Norman Fisher come from Ava Cherry, Cherry Vanilla and David’s recollections on ‘Nokia Recommenders’. David’s Nuremberg-influenced lighting scheme was recalled by Mark Pritchett. Other details of New York in 1974 come from The Ossie Clark Diaries (Bloomsbury, 1998). David’s soul record collection was detailed by Geoff MacCormack, Ava Cherry and Harvey Kubernick.
13 Make Me Break Down and Cry
Key sources include Ava Cherry, Tony Zanetta, Carlos Alomar, Tony Visconti, Iggy Pop and May Pang. Details of Bowie’s position as ‘employee’ of MainMan come from his contract dated 31 March, 1972. Terry O’Neill’s account of David’s meeting with Liz Taylor conflicts with Zanetta’s version, which is that Liz Taylor first met David when she arrived at a rehearsal. Zanetta’s version is in Stardust, p276. Description of the Hyatt Regency bust relies on MacCormack’s account in Station to Station. Reports of Iggy’s reunion with David come from Ron Asheton, and others, interviewed for the author’s biography of Iggy, Open Up and Bleed (Sphere, 2008). Sources for the recording of ‘Fame’ are Carlos Alomar (who mentions here, for the first time to my knowledge, how David played a key guitar riff on the song), Eddie Kramer and May Pang. Carlos Alomar does not remember Lennon singing ‘Shame, Shame, Shame’; however, May Pang contends that ‘I was the only one not on drugs and that’s what happened.’ Her version is supported by the fact that the song’s descending melody, first heard at 3.01, is essentially identical to ‘Shame, Shame, Shame’s’ chorus. The simplest explanation is that David heard John singing the line, but Carlos didn’t. Thanks to Keith Badman, author of The Beatles After the Break Up (Omnibus Press, 1999) who pinned down Paul’s arrival in New York as 10 January, and places the ‘Fame’ session as circa 15–20 January. Defries’ share of Bowie’s work up to 1982 was first uncovered by the Gillmans, who had access to MainMain paperwork and put the relevant date as 30 September, 1982. However, David’s original contract, as mentioned above, dates from 31 March, 1982.