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Changes One
combines best,
worst of Bowie
Review by Deb Gray
David Bovie, CLjes Gns;
RCA Records
Yeah, great hits collections are a ccp-oct. Sure,
performers and record companies are hitting us up for
something they went to comparatively little trouble to
produce. But still, if you only buy one David Bowie
recording, this is the one to have. Here we have a
capsulized progression of Bowie's rock career, cps and
downs included. When Bowie is good, he's exquisite and
exciting. When . he's bad, he's pretentious, more
obviously weird than anything else.
"Diamond Dogs", the title cut from what is generally
considered Bowk's worst album, begins with rock
crowd bedlam and Bowie shouting, "This is rock 'n roll!
This is genocide!" Indeed...what with its wolf-howl
vocals and guitar instrumental which sounds as if it was
played from inside an iron lung.
"Rebel, Rebel" is based on a weak melodic theme,
rivaling "Smoke on the Water" for a place in the Most
Endlessly Repeated Guitar Riff Hall of Fame. "John,
I'm Only Dancing" and its twanging guitar parts
becomes mildly irritating.
Other songs are interesting largely because of their
uniqueness. "Space Oddity" delves into an astronaut's
mind as he walks in space. "Ziggy Stardust", a reck star
who "sucked up into his head like a leper messiah," is
the story not only of Ziggy's success, but Bowie's also.
"Fame" has interesting rhythmic interplay between
instrument and vocal parts.
If nothing else, Bowie usually leaves you crying for
a lyric sheet. Even though much of what he says makes
no reasonable sense, at least he creates intriguing
images. Who else could rhyme laser with razors with
waiters (like he does on "Jean Genie") and carry it off?
The remaining cuts are some of Bowie's best songs,
among them, his recent hits "Young Americans" and
"Golden Years". "Changes" is as near to perfection as
anything in rock. "Sullragstte City", which has the
dubious honor of being massacred by thousands of
young rock bands, is Bowie at his outrageous,
speaker-peeling best.
Bob Soger and The Sliver Bullet
Bmd, 'live Edki; Cspitcl
I
The Michigan crowd on this c-te set is going I
bananas. You'd think thst Bub Ceg., Is .st3 S
struggling against obscurity, w a aim? Mlsk lgsr
proportions. "I read sr' r!iv. that Detroit audiences
are the greatest rock n roil 22E&& la the world," h
says. (The crowd screams approval.) "But I've known
that for 10 years."
Seger wrote most cf ths sosgs ca this album. He also
co-produeed it. But the first thing you notice is his
amazing voeJs. He sounds like David Ckyton-Thomas
at times, but his heart belongs to Chuck Berry and
Mitch Rykr.
Side oae is the mellowest cf the four sides. Ssgsr
gives world-whiney vocals on "Travelin Man" and
"Beautiful Loser", which has a lovely melody carried by
the keyboard.
Side two is funky. The star here is woodwind player
Alto Reed's haunting soprano sax sdo cn Turn the
Page" and his alto solo ca "Bo Diddlay."
The Silver Bullet Band, as Seger kizaelf, are
Michigan musidans. It's a tight band. Drew Abbot
proves tha Eash with his touring gintar sclos.
Keyboard player Rebyo Rutins b a rpsd as-pcrtive
phyer, but net thst dynsslc a ss!d-t.
Seger is at Ms best with unrdorccd reek "h rcX Ha
gives burning rrfsreances on "lUtrsasdu" and Gt
Out cf Denver."
Sesse cf this dusk, wLHa it attests to Ssgtr's ability
to rouse an audlcsca, dses not translate wc2 uito vbyl
"Hsavy Music" and th Czsl cut. "Let It Rock s"r
from the jamming, jiving-it-up-with-the-audience
scene.
But, all things censored. espedaSy the kih quality
that carries through the two-reccrd set, this is an
important success for Seger. IX anything deserves to
make him famous, this is it.