Wednesday, november9, 1977
daily nebraskan
page 13
David Bowie still experimenting,
growth continues on new album
Bv Jeff Tnphfl
David Bowie has proven himself to be a versatile per
former. In his illustrious career, he has successfully under
taken a number of diverse musical endeavors, going from
the sci-fi roclc of Space Oddity to the quasi-R&B of
Young Americans. In addition to performing his own
music, Bowie has produced arid played for Iggy Pop and
starred in the movie, The Man Who Fell To Earth,
album review
Yet despite the fact that Bowie has experimented so
much already , he seems unwilling to settle into one style.
One could guess that Bowie's latest release "Heroes"
would be another departure from his previous work by
looking at the album cover. The photo features Bowie
posing in a black leather jacket, looking as though he just
stepped out of a Brooklyn tenement. However, the music
inside is not what the picture might lead one to expect.
For starters, Bowie has assembled a fascinating band.
The core of the group is composed of Dennis Davis on
drums, George Murray on bass and Carlos Alomar on
rhythm guitar. To this solid foundation, he has added the
bizarre British musical duo of Robert Fripp and Brian
Eno.
Distinctive style
Fripp, the former lead guitarist for King Crimson, has
a very distinctive style of playing, to say the least. Syn
thesizer wizard Eno has achieved some commercial suc
cess in England, both with his solo recordings and his
collaborations with Fripp.
While these two do not challenge Bowie for the spot
light, reserving their talents primarily for embellishments,
they do give the music a dark, dreamlike quality, reminis
cent of the early Pink Floyd or King Crimson.
Bowie sings well throughout the album, in addition to
playing keyboards, guitar, saxophone and koto (a Japan
ese stringed instrument). He also co-produced the album
with Tony Visconti.
Side one contains five songs, the best of which are
-Joe the Lion" and "Sons of the Silent Age." "Joe the
lion" is the hardest rocker on the record, with its power
ful guitar lines driving Bowie on to a very inspired vocal
performance.
"Sons of the Silent Age" is much more subdued. It is
a bitter tribute to the sons of the silent age (whoever they
are) with Bowie working in a customarily detached vocal
style.
Side two different
Side two is a different story altogether. It starts off
with a rocking instrumental entitled "V-2 Schneider" and
settles into a very slow three-part suite that is bound to
upset some, Bowie fans. The three songs in the suite,
"Sense of Doubt," "Moss Garden" and "Neukoln," are
more mood than music, although Bowie does play some
hot licks on koto and saxophone to spice things up.
There certainly will be some who will dismiss the suite
as nothing more than some sounds to take sedatives by.
But the same could be said of the extended ramblings of
Pink Floyd if they were not listened to carefully.
However, there is enough going on musically to sustain
interest in it.
And it is refreshing to see an artist of Bowie's stature
unafraid to move in musical directions which might be
unpopular, rather than being content to rest on his laurels
as so many other stars have done, and regardless of
whether "Heroes" is a commercial success or not, Bowie
certainly will have grown musically from recording it,
just as lids fans might by listening to it.
I
, t if
No one reaUy knew.
Not the crowds who cheered him.
Not the women who made love to him.
Not the family who reached out to him.
No one until now.
No one until her.
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