As thin as a matchstick with a freshly ignited flame at the tip, David Bowie makes an appearance on The Dick Cavett Show in November of 1974. Chatting about Diane Arbus, mime, his wife Angie and his son Zowie, this makes for a fascinating and intimate 30 minutes. Songs get sung, including “1984,” “Young Americans” and “Footstompin’.”
The intersection of Radio Soulwax and David Bowie should be enough to pique even the most casual music listener’s interest, but fear not, the brothers Dewaele have delivered something truly special with the dj-set-cum-art-film Dave.
Dave is a 60 minute long megamix of Bowie music, arranged and mixed by Soulwax in their own inimitable stye, and accompanied by visuals put together specially for the piece by film maker Wim Reygaert. In true gender-bending fashion, Bowie is portrayed by a woman in the film, which takes its visual cues from some of the most recognizable moments in Bowie’s long career.
Soulwax are the undisputed kings of the audio/visual mash-up (it’s hard to believe the 2manydjs “As Heard on Radio Soulwax Pt. 2” album is ten years old already!) Here’s their reasoning for dedicating a whole hour of their work to David Bowie:
Our homage to the man whose ability to change whilst remaining himself has been a massive influence on us. There are many legends in the music industry but for us, there is no greater than the mighty Dave. We’ve included all things Bowie, whether that is original songs, covers, backing vocals, production work or reworks we made, to attempt to give you the full scope of the man’s genius.
For the visual side to this mix our friend Wim Reygaert (who also made the amazing film for Into The Vortex) came up with the most ambitious film for RSWX, taking us on a fever dream time travel through the man’s career starring the amazing Hannelore Knuts as Dave. We’ve got to extend a special thank you to the cast and crew and everyone involved for putting so much time and energy and heart and soul into this amazing film, it is a pure labour of love for the phenomenon that is Bowie.
There are lots more treats available at radiosoulwax.com, including apps for iPhone and Android, but before you go rooting around in there, check out Dave:
Another in our unending parade of Bowie rarities for you fine people is this recording of “Rebel Rebel” done in New York in 1974 and known as the “U.S. Single Version.”
This furious variation on the song, released only as a 7” record (backed with “Lady Grinning Soul” and attributed only to “Bowie”) was out just for a few months when it was withdrawn and replaced with the album version. It’s a more uptempo, far more aggressive take of “Rebel Rebel” with Bowie himself allegedly playing all the instruments, save for the frenzied congas, played by Geoff MacCormack.
Bowie’s guitar sounds like Keith Richards playing a rusty Strat through a transistor radio and he’s added the chorus of the “li li li li li li li li li li li li” bits not present on the LP version. It’s heavily phase-shifted and the vocals are, I suppose, campier. All in all, I think it’s superior to the better-known album track, although I love that one, too.
This was (and still is) the loudest cut record I have ever heard. If you drop the needle on this baby with the stereo at a normal volume, it will blow your speakers (and ear drums) out. I have to seriously crank the volume on the CD until the speakers start to distort or it just doesn’t sound right to me.
Here’s something from a posting about “Rebel Rebel (U.S. Single Version)” from the merry audiophile maniacs at the Steve Hoffman Forums:
Rebel Rebel (Bowie): three different versions exist. The familiar version was released in edited and remixed form (4’22” instead of 4’31” and much more echoey than the album version) as the the first single from Diamond Dogs (RCA LPBO 5009). The Australian Rebel Rebel EP (RCA RCA 20610) features a shorter 4’06” edit. Further mixes of this version are found on bootlegs: a ‘dry mix’ (“BBC Version”) was released on Absolutely Rare (no label) and The Axeman Cometh (DB003) has a “Mix 1”, supposedly from a 1973 acetate, but this version is very similar (if not completely identical) to the regular single edit.
The second version (often referred to as the US or “phased” version) is rumored to be played entirely by Bowie. It was released in May 1974, three months after the first issue, but only in the US, Canada (both RCA APBO-0287) and Mexico (RCA SP-4049). The US single version was re-released on several bootleg singles and albums, before officially appearing on Sound + Vision II and the 30th Anniversary 2CD Edition of Diamond Dogs.
The performance of Rebel Revel on David Live has a similar arrangement to US single version.
Lip-syncing to the more familiar album edit on Dutch television’s TopPop in 1974. Afterwards, Bowie is presented the Dutch Edison award for sales of Ziggy Stardust and served “an old fisherman’s drink” called Schelvispekel.
On the cusp of stardom, a young David Bowie models a Michael Fish dress on the cover of Curious - the ‘sex education magazine for men and women.’ He wore the same outfit on the cover of his 1970 album, The Man Who Sold The World.
Bowie stands next to clothes designer Freddie Buretti, who would design some of the early Ziggy Stardust costumes. Bowie tried to make a star of Buretti with his side-project band Arnold Corns, recording a version of “Moonage Daydream” with Buretti. The band failed, Buretti returned to designing clothes, and Bowie recorded Ziggy Stardust.
I recently picked up the 2009 “deluxe” 2 CD 40th anniversary set of David Bowie’s eponymous 1969 album, David Bowie (released in America as Man of Words/Man of Musicand then later as Space Oddity before reverting back to the original British title in 2009). It’s an album I know quite well and it includes some of my favorite “underdog” deep catalog cuts from Bowie’s discography, namely “Cygnet Committee,” “Janine.” “Wild Eyed Boy From Freecloud” and the epic seven-minute-long number from the album “Memory of a Free Festival.”
“Memory of a Free Festival” is a ghostly-sounding evocation of what seems to be some mind-blowing Hair-like hippie celebration from long ago and far away, but the actual event it celebrates (the Beckenham Free Festival of August 16, 1969, organized by Bowie and Mary Finnigan) was only about three weeks in the rearview mirror when the song was written and recorded (and it took place in Croydon, not exactly the fairy wonderland implied by the song’s blissed-out chant)
At the request of the record label, Mercury Records, the song was re-recorded as a harder-rocking “electric” version—and split into an A and B side of a 45rpm single—by a pre-Spiders from Mars band that included Mick Ronson (his first session with Bowie), drummer Mick Woodmansey and producer Tony Visconti, who played bass.
“Memory of a Free Festival” is essentially two separate songs: the long, slow build-up, with Bowie accompanying himself on a cheap Rosedale kids organ, and then the long drawn out fade/chorus/chant: “The Sun Machine is coming down and we’re gonna have a party” a line that is repeated 27 more times.
The two songs were connected by the sound of a cymble being sturck by a mallet and then slowed and manipulated on tape. The single was a huge flop, selling but a few hundred copies, which probably shouldn’t have come as much of a surprise considering that the catchy bit doesn’t even start until around the three-minute mark, and thus the B-side.
The original version of “Memory of a Free Festival” as it appeared on the album:
The rockier “Memory of a Free Festival” single, parts 1 & 2. Dig Mick Ronson’s guitar work here, he’s on fire.
Echo-drenched, more chaotic alternative album mix with two extra minutes, clocking in at 9.22. Unrelased until 2009. Listen LOUD:
There’s also a fourth version of “Memory of a Free Festival” recorded at the BBC that was included on the Bowie at Beeb set, but it’s not on YouTube. The song has been covered by the likes of Ween, Mercury Rev, Kashmir, Edward Sharpe and the Magnetic Zeros and Polyphonic Spree.
Here’s something for casual Bowie fans and die hards alike. In fact, it doesn’t really matter if you are a fan or not, this is guaranteed to brighten up your autumn Monday blues.
Bowie’s pre-1970s career is rife for re-evaluation I reckon, and I think this is as good a place as any to start.
Love You Till Tuesday is a half-hour show-reel of Bowie and a couple of his compatriots performing his songs in a bare TV studio. It was recorded in 1969 at the behest of his manager Kenneth Pitt, and was due to be shown on German TV with some of the sections re-dubbed from English. Unfortunately it never aired, though it does contain the original promo clip for “Space Oddity” you may have seen, erm, floating around.
But really, none of that is too important. The thing is… it’s really fucking funny.
The film’s opening promo, to accompany the song “Love You Till Tuesday,” is like an exquisite distillation of everything that made the late 60s so kitsch.
Just look at little David flopping onto a pillow in the campest imaginable way, while boasting that he will love you for TWO WHOLE DAYS! Try not to think of Austin Powers. it’s pretty hard. There’s a big lol at 1:44, and the music itself is like something from a shitty 70s English sex-comedy, or perhaps one of those racist, unfunny sitcoms people were so fond of back then.
Sadly, David, this is much more Robin Askwith than Anthony Newley.
You don’t have to watch all of this film for the funzies, just the first 4 minutes. But if you care to watch on, there are some good tunes, including the very Kinksy “Rubber Band,” and a mid-section mime performance about a mask.
Here’s another little jeweled sequin to add to the collection called Seventies: A BBC news report on David Bowie, as he prepares for his last public concert at the Odeon, Hammersmith, July 4th, 1973.
This is the edited version of a longer report, which was originally filmed at the Bournemouth Winter Gardens, and aired on the current affairs show Nationwide on May 25th, 1973. It is well worth watching for the unbelievably condescending and inadvertently hilarious commentary by the BBC reporter, who describes Bowie as ‘freakish’ and narrates the whole story with a growing sense of eye-brow raised horror.
Our besuited Man from Auntie then thrusts his microphone at celebratory fans and family: Lulu, Tony Curtis and Mrs Angie Bowie (who gives the best line), demanding to know what they think they’re doing. Alas, the original interview with the man himself is absent, sadly edited out of this version, but we do see him in prep for his big night, giving it laldy onstage before being whisked-off in a limo.
Great stuff. And you can compare this version with the original feature, which is available two parts, here and here.
David Bowie having fun at the Beat Club in May 1978, dressed in what looks like a pimp’s pajama top and those kind of pants he made famous, which were later sold via adverts in the NME and The Face. I once nearly bought a pair but opted to have my ear pierced instead. As always, Bowie is more than ably supported by his superb backing band, which here includes Adrian Belew on electric guitar; George Murray on bass guitar; Carlos Alomar on rhythm guitar; Dennis Davis on drums; Simon House on violin; Sean Mayes on piano and strings; and Roger Powell on keyboards and synthesizers.
01. “Sense of Doubt”
02. “Beauty and The Beast”
05. “The Jean Genie”
07. “Alabama Song”
08. “Rebel Rebel”
David Bowie’s first screen role was in Michael Armstrong’s 1967 short film The Image.
In The Image Michael Byrne plays a troubled artist haunted by a ghostly young man who appears to step right out of one of his paintings. David Bowie plays the mysterious apparition who is haunting the artist and his unusual good looks and other-worldly appearance are used to great effect here. Bowie was just 20-years-old when he made his acting debut, but he had studied with the avant-garde performance artist and actor Lindsay Kemp who included elements of Mime and Butoh into his teaching. Bowie obviously made use of the skills he developed studying under Kemp for his role in The Image and his wordless performance as an unrelenting spectre is undoubtedly the most memorable element of this short film.”
The Image was shot in just three days and completed in 1967, but it didn’t have its official screen debut until 1969. Due to the violent content of the film it became one of the first shorts to receive an ‘X’ certificate from Britain’s notoriously restrictive film rating’s board.” Cinebeats.
The Image has appeared in the past on Youtube with first three minutes of the film lopped off. Here’s the film in its entirety.
Director Armstrong went on to direct one of my favorite horror films, the notorious Mark Of The Devil, which also ran afoul of the British censors.
In the following clip, Armstrong talks about working with Bowie.
Written by Iggy Pop and Ivan Kral and produced by Tommy Boyce, “Bang Bang” was in heavy rotation in dance clubs when it was released in 1981 but failed to cross-over to mainstream success at a time when Pop was under a lot of record company pressure to create some hits.
David Bowie later covered the tune on his less-than-stellar 1987 release Never Let Me Down, an album Bowie claimed “had good songs that I mistreated.”
Did Bowie mistreat “Bang Bang”? Or did he blow Iggy out of the water? Or neither?
Hard to believe but it’s forty years since Roxy Music released their debut single “Virginia Plain” and made an unforgettable appearance on Top of the Pops. It was a moment that influenced a generation, the same way David Bowie had earlier the same year, when he seductively draped his arm over Mick Ronson’s shoulder as they sang “Starman” together. It was a moment of initiation, when millions of British youth had shared a seminal cultural experience by watching television.
Of all the programs on air in 1972, by far the most influential was Top of the Pops., and Roxy Music’s arrival on the show was like time travelers bringing us the future sound of music.
Listening to “Virginia Plain” today, it hard to believe that it wasn’t record last week and has just been released.
This documentary on Roxy Music has all the band members (Ferry, Manzanera, MacKay, Eno, etc) and a who’s who of musicians (Siouxsie Sioux, Steve Jones, and Roxy biographer, Michael Bracewell), who explain the band’s importance and cultural relevance. Roxy Music have just released The Complete Studio Recordings 1972-1982 available here.
One of the best Bowie bootleg videos that’s been floating around for at least 25 years is the professionally shot recording of six numbers from his 1978 tour. I’ve read variously that this came from one of the shows recorded for the Stage album, but I’ve also seen claims that it was shot either in Dallas or in Norway. Tony Visconti, who produced Stage, mentions nothing in his liner notes for the 2005 reissue of the album about the shows he recorded also being videotaped. I’m pretty sure that this was taped at The Dallas Convention Center performance of April 10th, 1978
Wherever it was shot, and no matter the short running time, this is one of the finest live Bowie documents we’ve got and it hails from one of his most creative and fertile periods as a mature artist.
It’s incredible to me that neither this nor the “1980 Floor Show” (Bowie’s Midnight Special special from 1973) have been made available for the home market. There were also German and Japanese television broadcasts of the 1978 tour. Surely Bowie fans would rather have one of these programs on DVD than another bloody Ziggy anniversary release! Enough’s enough, already, EMI…
Well, until that day, here’s a great quaklity YouTube upload.
SET LIST: “What in The World,” “Blackout,” “Sense of Doubt,” “Speed of Life,” “Hang On to Yourself,” and “Ziggy Stardust.”
(Note, forget what the uploader says about this being “part one”—this is the whole thing. Parts 2-4 are from the NHK Hall show in Toyko later that year)