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Bowie General > Images Vol. 30

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homebrewPosted at 2025-07-05 14:00:12(17 hrs ago) (Bowie General / Images Vol. 30)


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These articles appear just as they were posted in the Usenet group alt.fan.david-bowie by group member Jamie Soule aka AladINSAnE. I have made no attempt to alter the formatting, spelling, grammar or edit in any way.

This instalment of Images is special to me, as it is dedicated to a very
dear friend of mine. Out of respect for her I will keep her identity
private, and only say that she lives somewhere in the UK. I want to
thank you my dear friend for being there when I needed you, and for all
of your support, encouragement and advice. You are a very unique and
special individual, one who has truly enriched my life. Thank you for
thinking I was worth it, and summoning up the courage you needed, to
write to me. I am truly the real winner because of this. I want to wish
you a Happy Birthday, although I am late again as always. Thank you  for
all you have given me, but mostly I thank you for just being who you
are, and for choosing to be my friend. You're the best of the best and
don't you ever forget that. Oh, before I forget, your letter is coming
along, slowly, as usual.

Jamie


IMAGES: Part 30


As the recording sessions for Lodger progressed it basically became a
"free for all."  There were pretty much no restrictions imposed as far
as it went to trying something new. Bowie certainly had the right
collaborator in Brian Eno if experimentation was the name of the game
because Eno was quite content when it came to wading into unknown
waters. His work with Roxy Music on their first two albums as well as
his solo material is beyond legendary. There some of you, well possibly
many, who are not very familiar with Eno, other than his work with
Bowie, or may have heard some of his material and it was not to your
liking.. If either of these is the case I wish to offer you a small
suggestion that in my opinion you can't lose on. If you find some of
Eno's work a bit too "out there" for your taste do not be bashful about
admitting it, I too find some of his work a bit "far fetched," and as a
result I do not own anywhere close to a complete catalogue of his
released work. I can safely divide Eno's work into several categories,
accessible, inaccessible and so highly inaccessible that you require a
doctorate degree in the bizarre to attempt to decipher it. Rest assured
that it is not a "black mark" on you to shy away from his inaccessible
works. I am a rather fond admirer of Robert Fripp, Adrian Belew and Eno,
but admittedly I do have a line with regards to what I will tolerate of
their "experiments," and often they cross it. If journeys into the realm
of the unknown are not for you that is fine, to each his own. However,
DO NOT let this steer you away from Eno's work. PLEASE! Now, although it
is far from the designation of commercial, there is some work by Eno
that is extremely brilliant, as well as EASILY ACCESSIBLE to ANY
LISTENER. It is these pieces I want to talk about for a minute.

Listen. If you are wary about trusting my opinion on music, then would
you trust Bowie's? If so, I want you to know that David Bowie literally
RAVED about Roxy Music in many interviews after their debut album was
released in 1972. This was not a passing fancy either, as he was still
raving about them five years later in 77, on television to be exact,
when he was being interviewed by Dinah Shore. I am adamant about this.
If you do not own the debut album by Roxy Music then it is IMPERATIVE
THAT YOU BUY IT WITHOUT FURTHER HESITATION! BUY IT TODAY! The album,
simply titled Roxy Music, is the work of a collection of geniuses and is
truly one of the most brilliant albums ever made, by anyone. The music
on this album rates up there with the most important ever made, it was a
breakthrough in modern music, it is a true "classic."  Every person
should own this album, even more so if you are a Bowie listener, and I
beg you to buy it. This is an excellent way to hear the mastery of not
only Eno, but Andy MacKay, Phil Manzanara, Paul Thompson and Brian Ferry
on a very accessible album. I rarely attempt to "push" an album on
anyone, but this is the exception to the rule. I am so confident about
this album that I do not even remotely consider any repercussions from
those who take my advice and then after believe that I "mislead" them.
I will even go this far. Buy the fucking thing and listen to it six
times, ON HEADPHONES in a place you will not be disturbed. Now, if after
doing that you dislike it, you may post your thoughts about my music
recommendations on alt.fan.david-bowie, which is where I normally "hang
out." If I am not there believe me, any of the regulars can find me, and
as a matter of fact the most mentally unstable and volatile ones know
where I live. In addition, providing there are a semi reasonable amount
of complaints, I will promise to publicly state on the group that my
recommendations in music are not that good and I will NEVER AGAIN
recommend an album in this fashion. Okay? Deal? Just one final remark,
if you do not bother to buy this album then you are the one losing, you
are selling yourself short, and I really mean that. I do. Trust me.

Those who have the misfortune to know me personally will agree when I
say that I could never be described as un opinionated, timid or quiet.
However, this is really going out on a limb, even for me. Although I
will not recommend this before food, as I do Roxy Music's first album, I
will say that it is worth taking a risk and buying it. I am referring to
an album that was released in 1973, and it is another ground breaker
that in my opinion every serious Bowie listener should own. Contained on
this album is a pool of some of the most proficient and brilliant minded
musicians that have ever graced this planet,  Robert Fripp for starters.
Now, complementing Mr. Fripp we have John Wetton, former bass player for
King Crimson, as well as from Roxy Music Andy MacKay, Paul Thompson and
Phil Manzanara. Just to add to the list there is also Chris Spedding who
played with too many artists to name, as well as Simon King, formerly of
the same band as Simon House, Hawkwind. Where, you ask? Well, they
appear on another debut album that also changed the world of modern
music, another classic in the true sense of the word. The album is
titled Here Come The Warm Jets and it is Brian Eno's  first solo album.
Again, this album is very accessible and is worth owning. If you buy it
and like it you will also enjoy Another Green World and Taking Tiger
Mountain, also by Eno. If you are a fan of "ambient" music, Evening
Star, a Fripp/Eno collaboration is a truly lovely album, as are many
others of Eno's.

I realize that should I keep on going I will be forced to rename this
series, from Images, to In Loving Praise Of Brian Eno And His
Collaborators. So, for this reason alone I will say just a few more
words. Eno has been successful on two fronts, on the experimental side,
as well as on the commercial side of music. He has worked with some
truly avent guard pioneers on the experimental side. From the Velvet
Underground Eno has worked with John Cale as well as Nico. You can add
to that Laurie Anderson, Robert Fripp, Adrian Belew, David Byrne, Elvis
Costello, Peter Gabriel and the list goes on far too long to complete.
It is interesting to note that Eno has had incredible success on the
commercial side of music, however the work was not personally his. Eno
has never had any commercial success actually, with regards to his own
work, it came through his contributions to others. It is remarkable, to
me anyway, that Brian Eno has attained any "commercial" success, as that
is one area he has shunned with his personal work, and I never
envisioned him venturing there in any form actually. His success came in
the form as an award winning producer for his work with other bands. His
greatest achievement as a producer came for the work he did on the U2
album, The Joshua Tree. To put things mildly in perspective when I say
he was successful as a producer, I mean he was successful.  The Joshua
Tree was produced by Eno along side another award winning producer,
Daniel Lanois. In the United Kingdom The Joshua Tree went Platinum,
selling one million copies, in an unfathomable 28 HOURS! It stayed as
the number one album on the charts for nine continuous weeks. It also
topped the charts in 22 other countries selling over 15 MILLION copies.
The album put U2 on the cover of Time Magazine, and it was named number
three on a list of The Top 100 Albums Of All Time by Rolling Stone
Magazine.  The album produced two number one hits  hits on the pop
charts: "With Or Without You" and "I Still Haven't Found What I'm
Looking For." In  addition "Where The Streets Have No Name" and "In
God's Country" made the hit charts as well. The band won 2 Grammy Awards
for Album of the Year and Best Rock Performance by a Duo or Group, as
well as 2 more Grammys for Best Rock Instrumental Performance by a Duo
or Group and Best Performance Music Video for "Where The Streets Have No
Name." The Joshua Tree tour was documented in the film Rattle And Hum,
and the soundtrack was released as a double cd. U2 obviously realized
that Eno made a sizeable contribution to their success as he was invited
back to produce Achtung Baby. As far as the scope of Eno's work, well, I
readily include myself as one who finds it difficult to comprehend how
vast it is, and diversified. In addition to U2 Eno has worked with
Blondie, Talking Heads, The Ramones, Genesis, Suede, Jane Siberry, INXS,
Sinead O'Connor, Depeche Mode, Camel, Peter Gabriel, Icehouse, Johnny
Cash, Roy Orbison and Pavoratti. There has been movie soundtracks as
well such as Sling Blade, Tomb Raider and Basquiet, just to name a few.
To really understand just how large Eno's resume is I will say this.
With everything I have just told you, I haven't even scratched the
surface. It is easy to understand why Bowie wanted to work with him.

Bowie let Eno basically "run loose" in the studio during the making of
Lodger, and the result  is quite noticeable, with a glance at the
credits on the album, that he had his "hands into everything." Out of
the ten tracks which appear on Lodger Eno is given credit on six of
them. I am sure that it is no great revelation to anyone if I happen to
mention that the origins of what we call "rock music" is the "blues."
One  of the major reasons that Bowie wished to work with Eno was because
of his entire "approach" to music. This "approach" that Eno developed
came as the result of having certain problems arise when trying to write
by using the conventional methods that most bands use. Much of the
material written by bands comes out of jam sessions. What occurs is that
there may be a "framework" in place for a song, however it is usually
loosely written, or exists in parts. There may only be part of a melody,
a chorus, maybe a riff or a few chord sequences from which to build
from. . The musicians will then add each individual part to this
framework, by improvising. Through this method it allows the
incorporation of many ideas, and replays of the tapes gives a good
indication of what fits and what does not fit. The problem with the
conventional method of writing in Brian Eno's opinion was this. "When
you ask musicians to jam, the common ground will always be the bloody
blues, so, you always end up with these endless, boring, bloody blues
pieces. Now, if you happen to have ever wondered why so much of the
music we hear beamed at us from our radio all sounds basically the same,
you know, the standard "three chord" rock n' roll, you have now been
"enlightened." Bowie liked Eno's approach because it "broke the
structure" and the improvisation came from "new places."

Brian Eno wanted to "alter" the sound of the piano as of his
"experiments" that was
successfully incorporated  on Lodger. The trick though was to alter the
sound by "natural" means, and not by using any high tech electronic
modifications. He accomplished this, after a bit of thought, by taking
weights of varying degrees and attaching them so they hung from some of
the piano strings. Now, depending on the weight used, each time the
hammer struck one of these strings an extremely unique sound would be
produced. Now, according to Bowie this whole new "approach" to writing
that was used on Low, Heroes, Lodger and later on Outside, presented a
unique problem, one I had never thought to even consider. The problem
was with the musicians, getting the RIGHT ones that is. Bowie put it
this way, "Everybody was virtually handpicked for the album. I looked
for musicians who would not find themselves in an inhibiting or
embarrassing position when asked to do things which musicians maybe
aren't generally comfortable with.  Like, Put this frock on! Play like a
fried egg or be a tree!" In later interview Bowie talking about working
with musicians on the experimental albums said, "We wanted somebody who
is technically very, skilled but has the intelligence to move away from
clich ."  This s how Bowie summed it all up in an interview done just
after Outside was released, and it is worth repeating. He stated," It
was a question of, would these musicians accept the fairly unusual
recording process? In my mind, I looked at every one and tried to put
them into that situation. These were the ones which would be able to do
it. The first time around for Low, Heroes and Lodger, we had some who
were almost irritated at some of the things Brian and I wanted to do.
That doesn't make for an enjoyable set of sessions so we thought, let's
really look for people who will do what we want to do." As you can see,
by having such musicians working with Bowie, as well as Eno, they gained
total artistic freedom to try ANYTHING THEY WANTED, and best of all,
UNINHIBITED. This is why Bowie could say to Roger Powell when they were
recording Repetition, " I want the sound of bodies falling behind a
door."

Okay, here it comes and you have been warned. I have a theory I want to
discuss. This "theory"  I am sure, as most of my "theories" are, will be
greeted with. "Oh no, not again," coupled with a great deal of dismay
and disappointment by most of you. Many fans are adamant in their belief
that this album was the LAST real venture into innovative music that
Bowie attempted, and the second to last great album he would ever
produce. Many say that the "END" came with Scary Monsters. Is there a
reason for this? I think so. Look at this quote from Bowie on the making
of Low, Heroes and Lodger. He said, "There was no need to set
parameters." Isn't that interesting, "no parameters?" That statement
makes it quite apparent that Bowie was willing to go just about anywhere
with his work, without the recognition of any borders, and without the
acceptance of any limitations? Why? Why was it like that then? Why
didn't he continue working in this fashion? I believe that we have
Switzerland, MainMan, Tony Defries, Angie, RCA, Isolar and Bowie to
thank for this period and the loss of only ONE of them caused the "end"
to arrive in 1980. I believe that I have some extremely powerful
evidence to support my opinion as a matter of fact, not only that, it
makes sense as well. Oh, there was one more item which was instrumental
in the making of these albums that I almost forgot to mention. It is
called REVENGE!

Now, first of all, we must go back a bit in time, just prior to 1976,
to  be exact. It is necessary to look at what was influencing his
life, as well as his work, up to, and during that time frame. Under the
control, and control is the word, of MainMan and Defries Bowie had a
much different working environment. One of "pressure." As I discussed in
earlier segments of this series, Images, Defries was extremely
demanding  of Bowie. How much, if you have not read the  previous
instalments. Well, so demanding that Bowie had little, or NO CONTROL
WHATSOEVER, in various areas of his life and his work. Defries handled
the income, expenses, marketing, record deals, distribution, tours,
publishing, as well as handled all of Bowie's "personal" needs such as
housing, food and spending money. It was ALL controlled by Tony Defries.
This type of lifestyle may have relieved Bowie from the mundane world of
having to actually be "responsible" for yourself, in the sense of having
to live a normal life of paying bills, shopping for your necessities,
budgeting, money worries and so forth. However, it can be an extremely
dangerous way to live, and in Bowie's case it created something that
hurt him in too many ways to count. It created "dependency." Bowie lived
not the way he wanted to, but the way OTHERS wanted him to. Although
provided for well, he was in fact helpless, and obligated to the demands
of his "keepers," so to speak. Then there were the pressures which he
very likely exerted on himself. The feeling of not knowing what is going
on around you, as well as what is happening in your own life. The
feeling of having no control over anything that effects your life.

The "external" worries came from Defries. David Bowie was vital to Tony
Defries, as INCOME, that is. Bowie was the "golden goose," a "cash cow,"
and the source of enough money to build the empire he craved. Defries
talked once about MainMan becoming the largest management agency for
artists in the entire world, saying he may one day EVEN BUY RCA! Having
expectations set this high made Defries put pressure on Bowie to make
music THAT SOLD. It wasn't just the record sales either, he expected the
tours had to draw sell out crowds, and he was intent on also making
Bowie a "movie" star, an international celebrity, a household name. All
that was expected of Bowie was to do it. ALL OF IT. Money? There wasn't
any, for Bowie that is. He lived on handouts from Defries, and if
Defries didn't come through then he had no alternative, he turned to his
"friends." He was not "broke" per se, it was worse. He was in debt.
Angie was also a concern, the marriage by this point was long over and
there was a divorce looming. This added to the worries as there was
custody of their son Joey at stake, and a possible financial settlement
to Angie that could have gone well into a million plus dollars. Then the
bottom all fell out and David Bowie's world collapsed all around him. He
awoke from a dream, to a living nightmare.

Young Americans could not be released due to a court injunction obtained
by Tony Defries, sighting breach of contract. Bowie was now the subject
of a lawsuit, which if it went to court, he would not have a hope of
winning. Bowie learned in no uncertain terms also was that what he
"thought" was the truth, and what was really the truth were very
different. The world Bowie woke up from was one of fantasy, this was
reality. The reality was that he owned nothing at all, no company, no
house, no car and no money. He didn't even own any of his own work, his
music, and everything else connected to it  all belonged to Tony
Defries. Under his personal services contract, it turned out he
discovered, that HE WAS PERSONALLY OWNED BY DEFRIES, and this contract
was effective FOREVER. It had no termination date on it at all. David
Bowie is broke and living off of friends, he can no longer work, and all
of those people who "looked after" him are now gone. He has a problem.

Okay, did you follow me so far? Listen, this part is really important.
Now, think of what happened to Bowie in the space of under a year, from
1975  going into 1976. RCA saved his ass, and look at what He got from
it, the benefits to him personally were incredible. How so? He was not
broke anymore as he got a lump sum payment of three hundred thousand
dollars from MainMan, which was actually paid by RCA as they agreed to
cover MainMan's debts. This was more money than he had ever seen before.
In addition he no longer had to pay Defries fifty percent of his
earnings after expenses. It was now sixteen percent, but the important
part is that he no longer paid any expenses, which by supporting the
lifestyles of a host of others such as Defries, Iggy and every employee
at MainMan, not only took every cent he earned, it put him in debt. He
got control of his work back, including the publishing, which meant the
royalties generated from these sources now went mostly to him. In
addition, he would now receive ninety five percent of the revenues from
his tours, including the merchandising. Simply put, Tony Defries no
longer "OWNED" David Bowie. The divorce settlement went totally in his
favour.

Switzerland as well as Isolar played an important role as well,
extremely important to be exact. I will say that the most brilliant
business move ever made by David Bowie was when he made the decision to
manage his own affairs and opened Isolar in order to do so. This move
has allowed him to save untold millions over the years. Where does
Switzerland fit in? Well, because of his residency status Bowie could
take full advantage of Swiss tax laws, and by doing so with the aid of
holding companies, it allowed him to keep all the money he was now
saving. By the completion of the Station To Station tour Bowie was worth
well over a million dollars, between three to four million to be a
little more exact. Here is the point I want to make. Bowie went from
being in debt to becoming a multi millionaire in a little over a year.
On top of that, what problems did he have now that would adversely
affect his life? The answer is NONE!  The dream finally came true, Bowie
MADE IT, for the first time in his life he had it ALL! He had more
actually than he ever thought possible. He said in an interview done in
76 that he was "making obscene amounts of money." The fact that I need
to illustrate my opinion is this, Bowie did not need a damn thing, and
what he had with RCA allowed him to make Low, Heroes, Lodger as well as
Scary Monsters. What he had with RCA was of major importance, it was the
KEY TO THE WHOLE THING. Really, it was.

Yes, I firmly believe the secret lay with RCA. What did he have that was
so vital? The answer is a signed contract to provide them with five
albums. That's right, a contract, and the timing of it was all too
perfect. It came out of his experiences with MainMan no doubt but you
can be fucking sure Bowie now paid a little more attention to the
contracts he signed. Bowie now actually obtained legal advice as to know
what the terms of a contract were BEFORE he signed it, instead of
finding out the hard way after. You can bet your ass the contract he
signed with RCA, once they got him released  from the clutches of
Defries, for the most part anyway, had all the basses covered. Oh, and
not just covered either, but covered as much as possible in HIS FAVOUR,
which is another reason we got these albums. Now if you add in REVENGE
to all of this then my case is made. That is how Bowie was able to make
the music he did from 1976 until 1980. Do you agree?

Okay, then let me briefly summarize the point I am making if you do not
see where I am coming from on this. Bowie at this point in his career,
1976 until 1980, had EVERYTHING he wanted, he was happy and content.
During this time he had few problems to deal with as the major crisis he
had to contend with in the past were all resolved. The battle with
Michael Lippman over a discrepancy in the percentage he took during his
short stint as Bowie's manager, was pale in comparison to the recent
ordeals he faced at the time. The Lippman thing was settled quickly, and
without much grief anyway. Bowie was now FREE, happy, content and in his
own eyes very wealthy as well. He did however have ONE major obligation
he had to fulfil, and this obligation was to RCA. He had to give them
five albums, and that was IT. There was nothing more. It is my opinion,
based on these facts, that because Bowie had control of his affairs with
little to worry about, and the fact he was financially set, allowed him
to do whatever he wanted artistically. He could not only do what he
wanted, but do it WITHOUT the concern for what ANYONE ELSE THOUGHT OF
IT, INCLUDING his listeners and RCA. To put it bluntly, Bowie didn't
give a fuck, at all. He didn't need the money, or anything else for that
matter, so why would he care if anyone bought his albums or not? He did
however deeply care about one thing in particular, and that was doing
what HE WANTED TO DO artistically, free from ANY INTERFERENCE,
especially from his label, or anyone who had, as Defries did, ulterior
motives. If you look at his work over these years, and his "nothing is
taboo" attitude coupled with his behaviour, it lends a great deal of
weight to my opinion I believe. The contract he had with RCA was vital
to the making of these albums, as I said before, in ONE major way. It
had to do with a clause that was written in Bowie's contract with
regards to the distribution of his work. The importance of this clause
can NEVER BE UNDERSTATED. EVER. Why is that you wonder? Well, let me put
it to you this way, if this clause did not exist in Bowie's contract
with RCA you NEVER would have heard Low, and that is a FACT. In all
probability you never would have heard Heroes either. This clause said
that RCA was LEGALLY OBLIGATED to RELEASE what Bowie GAVE THEM as an
album under the terms of the contract, they had no right to "edit" his
work, of prevent its distribution. If you recall I stated in an earlier
instalment of Images that RCA refused to release Low unless Bowie
changed some of the tracks to suit them. It was this clause that
literally "forced" RCA into releasing it, and if they had their way Low
would still be sitting somewhere, on tape and collecting dust. So, what
this clause did was remove any risk that Bowie's work would be
interpreted as so un commercial that it would never be heard by an
audience. He was GUARANTEED an audience, no matter what he wrote.

Revenge is sweet. Well, sweet to the ears anyway if you are one who just
happens to like Bowie's work from 76 to 80. It was revenge you know, or
partially anyway. Bowie's "spats" with RCA are legendary, and they went
on continuously for one reason or another. The truth is David Bowie
never forgave RCA for the treatment they gave what he maintains is his
best, and personally his most valued work, Low. Bowie was extremely
proud of Low, and the fact that he had to battle with his label to even
get them to release it was a "personal" insult. Whether right or wrong,
it was Bowie's contention that he got poor support artistically from
RCA. You can add to that many other squabbles. The most recent
bickering  between the two at the time Lodger was being made was over
the newly released album, Peter And The Wolf, on which Bowie provided
the narration. Bowie was apparentley absolutely furious when he
discovered that Peter Ustinov and Alec Gunness were RCA's FIRST two
choices to do the narration on the album. They both declined the offer
so the asked Bowie. He did not like being third choice. Every time they
fought it pushed Bowie to do his own thing even more, to punish RCA, and
he did.

It was all of these factors combined that gave us some of the greatest
music ever made. It would not last however. Why? Well, the way I see it
Bowie was no longer satisfied with being just "comfortable" and making
music. He wanted more, much more, and  as a result of his wants we got
much less. That is something I will talk about in length, but not now.
Later. There is a bit more I wish to say about Lodger first, so please
bear with me. Alright?

AladINsaNE

To be you know what................


""I don't begrudge any artist for finding an audience"
- David Bowie abt. 1987
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