Rick Wakeman (2009): David called me up to his house in Beckenham, Kent, as he wanted to play me some songs. As on the John Peel radio session, Dana Gillespie sang backing vocals. īowie’s cover of Ron Davies’ It Ain't Easy would be held over for Ziggy Stardust. Nearly every track I recorded with David was first, second or third take – usually second. Many times we'd go in with a track to record and at the last minute David would change his mind and we'd do one we hadn't rehearsed! We would be panicking, as he didn't like doing more than three takes to get it. Woody Woodmansey (2011): There was incredible pressure in getting a track recorded right. In some respects, it's nerve-wracking, but it gives a certain feel. No time to think about what you're going to play. We'd go in, David would play us a song – often one we hadn't heard – we'd run through it once, and then take it. Trevor Bolder (2011): Our approach was very off the top of our heads. And no need to put them in tune afterward. And with David almost all of the lead vocals are one take. I think he knew all along what was going to happen, but he didn't always tell you. Ken Scott (2005): It was very much him knowing what he wanted right from the get-go. Bowie was present throughout and focused on the moment. The sessions were characterised by immediacy and spontaneity. If there wasn't someone who was going to use rock'n'roll, then I'd do it. Even though the song isn't one of the most important on the album, it represented for me what the album was all about. It was at that period that I said, 'Okay, Dylan, if you don't want to do it, I will.' I saw that leadership void. They started with a song from the recent Peel session, Song For Bob Dylan.īowie (1976): That laid out what I wanted to do in rock. Scott was a logical choice having engineered Bowie’s previous two albums and more recently, the tracks with Mickey King. Hunky Dory sessions began with Ken Scott co-producing with Bowie. The song was often in Bowie’s set during this period and prior to that, Bowie had also been performing Rose’s Buzz The Fuzz (recorded on a February 1970 BBC radio session – still unreleased). In contrast, the back cover personalised the songs, with Bowie’s left handed scrawl paying tribute to their origins.Īn acetate was produced of Hunky Dory with a track listing much the same as the final version, but without Eight Line Poem and differing track times on half of the songs.īombers was originally intended to segue to the studio chat intro of Andy Warhol (‘It’s Warhol, actually’) but it was replaced by Biff Rose’s Fill Your Heart, which Bowie had recorded at Bob Grace’s suggestion.įill Your Heart had already been covered by Tiny Tim and appeared on the flipside of Tiptoe Through The Tulips. The cover evoked both Hollywood nostalgia and Warhol modernism, and alluded to the silver screen in Life On Mars? and Andy Warhol – one a compelling spectacle, the other a simulacrum where the artist becomes the spectacle. Produced by Ken Scott assisted by The Actor Īrrangements by David Bowie and Mick Ronsonĭavid Bowie (vocals, guitar, piano, saxophones)īowie’s cover portrait, one of a series Brian Ward shot at his Heddon Street studio, was blown up to a 12-inch square print, then hand coloured by Terry Pastor and George Underwood (partners at Main Artery). All songs by David Bowie except Fill Your Heart (Williams, Rose)
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |