Loving the Bowie Voice(s), Playlist 2: A Voice for Every Emotion

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Loving the Bowie Voice(s), Playlist 2: A Voice for Every Emotion

by sandraphflowers

I had to resign myself, many years ago, that I’m not too articulate when it comes to explaining how I feel about things. But my music does it for me, it really does.  David Bowie quoted in “Rock’s Heathen Speaks”

One reason I’m a David Bowie fan is that his music is so varied that it has the ability to touch the whole range of human emotions. When I say “his music,” I’m referring in part to what Morgan Fisher called “the whole package,” which includes songs, melodies, lyrics, and arrangements (“The Voice that stayed with me” in “Like some cat from Japan: A tribute to David Bowie,” The Japanese Times).

Fisher’s “whole package” concept is an excellent expression of what a remarkable person David Bowie was. Other things that come to mind as I consider the whole package are Bowie’s intelligence, his performances, his bands, and, my favorite of Fisher’s terms—“That Voice.”

This second installment of the Loving the Bowie Voice(s) playlist series explores different ways That Voice captures and reflects emotions that are common to us all. The songs I’ve selected for this series fall into one of two broad categories—those associated with cheerful emotions and those associated with somber emotions. In either case, the voices Bowie chooses for the individual songs help drive the emotions home—or open them up, as the case may be.

That said, let’s move on to the list. Following are descriptions of the categories and their songs.

Cheerful Songs and Emotions

1. Love you Till Tuesday, 1969

This is the title song and first track of a video album showcasing young David Bowie’s abilities. It’s not exactly an introduction to his work, since he’d already recorded over two dozen songs as well as his David Bowie album by the time he made this one. However, this is his entrée into the world of music videos. In that sense, it’s a repackaging of an experienced, multi-talented performer, bringing together the complementary talents of song-writing, guitar-playing, acting, miming, and singing.

Many of what Bowie fans came to know over the decades as his signature moves and staging preferences can be traced to this one song. Even the small amount of dancing he does on this song hints at the more soulful (or “funkafied,” as Tony Visconti might call it) moves he’ll develop within a few years as the Thin White Duke. Add to these features his vibrant personality and irrepressible sense of humor and you probably won’t be able to get through the song without smiling back at him at least once, or, more likely, several times.

1. Boys Keep Swinging, 1979

This abbreviated version of the official video can be enjoyed purely as lighted-hearted entertainment. Reinforcing that message is the fun Bowie seems to be having in delivery—the coy glances; the sweeping, full-torso twists; the stiff-legged, head-up, backward-leaning toe taps. It was fairly common for Bowie to be comedic in performances. This song, though, goes a bit further by encouraging him to break out his silly side.

At least, that’s how I always saw it before reading the critique in Pushing Ahead of the Dame. Re-watching the video in the light of that critique reminded me that Bowie was an accomplished actor as well as the stage performer and singer he’s best known as. In fact, so convincing was his acting that the contrast between this video and the final scene in “Sweet Thing” leaves you wondering if in the later you’re watching a talented actor fully immersed in his character or a real-life paranoid cocaine addict on a bad trip.

1. Magic Dance, 1986

Thirty years after Labyrinth’s initial release, the Web bears witness to the fact that audiences are still—what? taken aback by? thunderstruck at? ambivalent about?— King Jareth’s fancy footwork on this delightful tune. Skimming Twitter and YouTube feeds from around the world indicates that such reactions are as common among Labyrinth veterans as among first-time viewers. And, of course, in addition to the actual dance, there are also his unforgettably graceful moves throughout the film. The only advice I can offer to prepare you first-timers for this is, to use David’s own words, “Oh honey, watch that man!”

Well, enough about the dance. Anything else I say could definitely be a spoiler. So I’ll just encourage you, if you’re lucky enough to be in a city where it’s being reprised, by all means grab some friends and tickets and go see it. Otherwise, buy, borrow, or rent it and have the buddies come over. Since most people will be watching it that way, it could very well end up being a world-wide Bowie fan virtual meet-up.

4. I Feel Free, 1993

This is the only song on the playlist not written by Bowie. As he explains in a separate introduction, he recorded a version of it in 1973 as Ziggy Stardust with the Spiders from Mars and then another on his Scary Monsters (and Super Creeps) album. Here, in this completely reinterpreted version, at age 46, he’s passing through a final R&B stage with the successful (a stint at #1 in the UK) and acclaimed Black Tie White Noise album to his credit.

This performance has the spirit of a joyous backward glance, as Bowie performs with a group not totally unlike those of Little Richard, whose band he wanted to be in as a child, and shows his chops on saxophone, another childhood passion. Unfortunately, against the song’s background of a robust (read, “high volume”) band and backing vocals, his voice isn’t easy to pick up here. Still, it’ll probably make fans happy to see how happy he is playing saxophone and Bowie-leg dancing, looking and sounding as content as a person who feels free should.

5. ‘Heroes’, 2002 (at L’Olympia Bruno Coquatrix, Paris)

Changing England’s national anthem to ‘Heroes’ has a snowball’s chance out of Antarctica. No matter—the song has earned its place in history throughout the world. However, it’s still eligible to be the national anthem of Bowie fandom. The idea occurred to me when I saw the David Bowie Live by Request A&E 2002 audience rising to their feet (video location 54:43) as soon as the band started playing ‘Heroes.’

Of course, audiences did this for “Ziggy Stardust,” too, but it feels different with ‘Heroes.’ As one writer said, “It was always a special occasion when David Bowie sang ‘Heroes.’” Indeed those were special occasions for Bowie as well as for audiences, for when asked what songs he liked to play for concerts, he named “Station to Station” and followed up with, “I also like ‘Heroes’—but I’ve always liked ‘Heroes’” (MTV 1990, location 4:07). His affection for the song was matched by the audience’s. At the end of the Olympia version linked above, for instance, is a particularly touching moment between the singer and his audience which you won’t want to miss.

6. Atomica, 2013

A song Bowie wrote in conjunction with The Next Day Extra album, “Atomica” was never intended to be performed publicly by him or recorded in video format. However, the unofficial video linked here, expertly edited by Pietro Galluzzi, does full justice to the song’s spirit, its genre, its creator, and the story it tells. Galluzzi accomplishes this feat with a non-stop collage of clips from live performances ranging from early Ziggy through Tin Machine and into 2004’s A Reality Tour, which proved to be the final tour of a spectacular career.

The first line of “Atomica” is, “I’m just a rock star stabbing away.” Notice how well the clips support this assertion. Many of them are so closely matched to the song’s lyrics that it looks like Bowie is singing the exact words as we’re hearing them. Remember, though, that these scenes occurred years before “Atomica” was even made. This piece is truly a marriage of sound and vision worthy of anyone’s Bowie collection. Thank you so much for this top-of-the-line work, Pietro.

Somber Songs and Emotions

7. There Is a Happy Land, 1967

“There is a happy land where only children live

You’ve had your chance and now the doors are closed sir

Mr. Grownup go away, sir.” This song’s title hides a hostility that grows and persists throughout the verses right up to the final lines (above). While not among Bowie’s better known works, possibly not even unknown enough to qualify for deep cut status, “There Is a Happy Land” fits comfortably in the niche Bowie carved out for himself. Here he’s speaking to and for the alienated, the “different,” the ones wanting something to believe in and someone to believe in them. This theme of threats to childhood innocence will resurface in the beloved “Starman,” the launching pad for Ziggy Stardust.

8. Sweet Thing/Candidate/ Sweet Thing Reprise, 1974

One of Bowie’s most poignant works, this suite presents a harsh tale of drug addiction, boy prostitutes, and environmental despair. It’s hard enough to coherently dramatize a statement on even one of these subjects. To successfully take on all three story lines at once while you yourself are a cocaine addict on the verge of a downward spiral—as Bowie was at the time—is a major achievement. (I pause here to compliment Bowie fan Nacho Marcho for his splendid work in compiling this version. It’s great Nacho!)

One final aspect I’d like to call attention to: The lyrics and delivery of this piece are so powerful that even without benefit of the video you can “see” the story unfolding in your imagination as you listen to the song. If you do have access to the video, however, pay particular attention to the reprise. From around 6:45 to 8:15, there’s a subtle, not-to-be-missed story told by the speechless boy’s interaction with an unseen presence or force just beyond your right shoulder.

9. Day-In Day-Out, 1987

Though he frequently described himself as apolitical, David Bowie was actually a courageous social justice advocate. Examples that come to mind are calling MTV out for neglect of African American artists, designing the official “Let’s Dance” video as a protest against Australian apartheid (both in 1983), and devoting the “Day-In Day-Out” song and video to protesting against homelessness in Los Angeles (1987). He also joined other major artists in donating his services to the 1985 Live Aid concert to wipe out hunger and the 2001 Concert for New York following the September 11 attack.

The homeless theme of “Day-In Day-Out” may obscure the fact that Bowie is making statements about other issues as well in this video. Those other issues are the inadequacy of legal responses to sex crimes, economic exploitation of women, and police brutality. As with the “Sweet Things” story lines, this is a lot to pack into a short film. Bowie used one of his favorite techniques to convey the messages, however: surrealism. (As an aside, I’ve also written about the “Day-In Day-Out” video in another context. See Writer to Writer: What I Learned from David Bowie About Compassion, Part 2 of 2.)

1. I Have Not Been to Oxford Town (Location 26:12-30-30), 1995

At a glance, this song tells an unpleasant but straightforward story based on true events: A man who has been found guilty of murder is in his prison cell, his execution pending. At the time we meet him, he’s protesting that he hadn’t even been in the town where the crime was committed. As we watch and listen, he becomes frantic, talking to an unidentified presence, alternating between resignation and resistance. You almost want to believe him because he seems resigned (“All’s well”) to being executed for a crime he didn’t commit.

If he’s telling the truth, then the judicial system will have executed an innocent man when they put him to death, while the murderer goes free to murder again. There’s just enough headline and newscast familiarity in such a story to create a bit—or a lot—of empathy for the man. But the longer he talks, the bigger hole he seems to dig for himself to fall into if the story doesn’t hold up. By the time he gets to the “if only” stage, you don’t know what to believe any more.

11. The Loneliest Guy, 2003

Writing about loneliness isn’t easy. On the one hand, you need just the right quantity of precise words to get the point across. Too few words or imprecise words, and it sounds like you don’t know what you’re talking about, like you’ve never been lonely (yeah, right). Too many words or imprecise ones, and it gets maudlin. So the final word on words is that a song on this subject has to have the right lyrics to convey the feeling and the words need to be few enough not to overpower the feeling.

Pace is yet another issue in this song. Very, very, very slow. Roughly 18-20 beats per minute slower than some versions of “My Death,” which in itself is pretty slow. Yes, I admit that I’ve now taken the (or an) easy route, reducing the song to a mathematical formula. In contrast, though, I read one review which was harshly uncomplimentary of everything about the song, including That Voice. Funnily, it’s That Voice that makes the song work for me. I guess that’s to be expected, though, of someone who creates playlists based on a voice. (All right, all you other voice playlist creators, help me out here!)

12. Blackstar, 2015

We’re now in the eighth month of Starman’s departure. Still, many fans posting on Twitter or YouTube admit that they’re not able to watch or listen to either ”Blackstar” or “Lazarus” yet because these parting gifts are too painful to dwell on. Fans have also been posting their appreciation for both videos all along. I understand and experience the emotions associated with both positions. Although I rarely watch the videos, I listen to both songs regularly, marveling at their beauty each time I do.

A brief story to put this observation and my feelings about “Blackstar” in perspective, hoping, too, that this little reflection will help someone else find peace with and grow to love both songs:

I have a 15-year-old granddaughter, Cheyenne, who barely knew who David Bowie was at the time of his death, although she’s a big fan of one of his gifted friends, Bjőrk. Cheyenne and I spend a lot of time in the car traveling from one part of town to another. I have Bowie’s music playing nearly all the time when I’m driving. After all, there’s enough of it that you can drive across several states (Texas excluded) without ever changing artists. As a result, Cheyenne’s probably heard more David Bowie music this year than most people her age have. She liked some of the songs right away (need I say “Let’s Dance”?) and is growing to appreciate Bowie’s artistry in general. She’s even asked me for recommendations about what to listen to and how to get better acquainted with him.

Needless to say, I’m very pleased with this outcome. So during a recent drive, I was pleasantly surprised when, as “Blackstar” was ending, Cheyenne asked, “What’s the name of that song?”

I proudly told her the song’s name and history.

“Hmm,” she said, nodding thoughtfully. Then, without being prompted (big deal for a teenager! ), she said, “I like the voices.”

There was no need for further conversation for a while. We were both preoccupied with our own thoughts and taking in Bowie songs playing in the background. I suspect, though, that she was thinking pretty much the same thing I was: “It’s that voice!”

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Thank you for trying this playlist out. I hope you’ve enjoyed it as much as I’ve enjoyed making it. If so, I’d appreciate your liking it here as well as on Twitter and retweeting in on Twitter.

Leaving you with one of David Bowie’s familiar concert closings, “Thank you and God bless.”

Follow me on Twitter:@sandraphflowers Visit and follow my blog: https://therevisedversion.com/