Wednesday, 13 January 2016

James Chance on Richard Hell

You’ve said that that “listening to Richard Hell, that’s when I knew I could sing.”

When I was in Catholic grade school, I was in a boy’s choir. My sister describes it as sounding like yowling cats. I never had any training as a singer. I didn’t do it when I was playing jazz, though I was a big fan of Billie Holiday. One time when I was 16, I was at the music conservatory, I was standing in the hall, singing a Billy Holiday song, I thought to myself and someone came out of a classroom and said in a nasally voice “ will you please stop that!” But when I started the Contortions I thought I would just sing some of the songs and I would have a girl singing half of the songs. Actually, before I was in Teenage Jesus with Lydia Lunch, we had a band that never got out of practice called the Scabs. It was me and Lydia and Jody Harris and Reck from Teenage Jesus. The idea was to do half my songs and half Lydia’s songs. That idea continued onto the Contortions.

Originally I had this girl; she was the girlfriend of Alan Vega. Ann something… she had this homemade synthesizer that had like two octaves. After she kind of dropped out, I had this little punkette girl, Debby, who worked at this punk clothing store on St. Mark's. They called her Debby Revenge. Had her singing for one or two rehearsals. She wasn’t really serious, so after that I decided “Enough of this.” I was just going to sing the songs and let the chips fall where they may. Because it was true, Richard Hell didn’t have anyone’s idea of what a trained voice would sound like. But all kinds of other people were doing the same thing! Nobody cared if you had any kind of training or voice…or even if you could carry a tune. As long as you could project yourself somehow
Via

David Bowie: Father Of The Sleng Teng Riddim

Elvis Presley - Black Star (1960)

When I found out the name of Bowie's new album, the first thing I thought of was this old Elvis song. I'm convinced Bowie was referencing this song. The lyrics are too perfectly appropriate for his situation. Check them out:

Every man has a black star
A black star over his shoulder
And when a man sees his black star
He knows his time, his time has come

Black star don't shine on me, black star
Black star keep behind me, black star
There's a lot of livin' I gotta do
Give me time to make a few dreams come true, black star

When I ride I feel that black star
That black star over my shoulder
So I ride in front of that black star
Never lookin' around, never lookin' around

Black star don't shine on me, black star
Black star keep behind me, black star
There's a lot of livin' I gotta do
Give me time to make a few dreams come true, black star

One fine day I'll see that black star
That black star over my shoulder
And when I see that old black star
I'll know my time, my time has come

Black star don't shine on me, black star
Black star keep behind me, black star
There's a lot of livin' I gotta do
Give me time to make a few dreams come true, black star

Via

Also Bowie born on same day as Presley...and this. Conceptual art to the very end eh?

HA!

'David Bowie played one of my records a lot' - Lincolnshire musician's claim to fame

Also this! A late entrant here

Tuesday, 12 January 2016

Tjituru - Tjituru

Pitjantjatjara iteration of SORROW popularised by David Bowie written by Feldman-Goldstein-Gottehrer. This version recorded in Pukatja SA by Steve Fraser with: Rhoda Tjitayi, Andrew MacGregor, Renita Stanley, Pantjiti McKenzie, Linda Stanley, Unurupa (Nami) Kulyuru, Makinti Minutjukur, Pantjiti Windlass, Alison (Milyika) Carroll, Saira Luther, Beth Sometimes. Arrangement by Damian Mason. Recorded as part of Ngapartji Ngapartji by Big hART

Benjamin Schwartz

Via

David Bowie - Love Is Lost (Hello Steve Reich Mix by James Murphy for the DFA)

Steve Nieve - Life On Mars

A few notes of farewell to a great artist and fellow musician. Your work will never cease to inspire us all.
In the 80’s before computers made it possible for everyone to be a keyboard player, I had constant work with Clive Langer and Alain Whinstanley. Clive and Alain produced the soundtrack for Absolute Beginners, and I was involved on several tracks, including playing the string synthesisers on David’s title song "Absolute Beginners". My Royal College of Music mate Rick Wakeman added the final piano flourishes. At the same moment in time, the huge concert Live Aid took place, Elvis was asked to appear solo, but thankfully I was involved by playing on Bowie and Jagger’s “Dancing in the Street”. For this session I played bass piano on the backing track, which was an incredibly exciting studio moment. Jagger arrived unexpectedly early in the recording room as we were running down the track, and began dancing around us, whipping the music up several notches in the process. The song was played round and round to his dancing, many many times before the record button went red, by which time the vibe was truly red hot. After this there was a killer scene in the control room with Bowie and Jagger, out starring each other, and me, all the musicians on the track, Clive and Alain, listening back. They overdubbed their voices two takes each. We all stood listening back takes A+B of David’s vocal and the best lines were compiled. Then Mick took the the chair beside Clive listening line by line. Each time the room was asked A or B? If the concensus was for take A, Mick insisted on take B. This went down for the entire song. “It sounds pretty wonderful now” says David to the whole room, “does anyone have any ideas for overdubs?”. Although the quiet one in situations like this, I said instantaneously “Yeah I have a vox organ here, I can bring it in, it would add a cool flavour”. “Go get it then” said David, and I headed out through the door. As I headed by Mick I heard him quip “That’s the sound I hate the most in the whole world”… I immediately looked at Bowie thinking to myself “what a catastrophe" but David smiled at me and I will never forget this smile that we all love so much. Needless to say the Vox Organ never made it to the mix. But I will always remember how David made everyone feel at ease and brought out the best in people, even the contrary Mr Jagger. Quickly a final mix was played back, I recall Bowie actually leaping over the mixing desk. He was standing behind the desk between the back and the control room window and in one seemingly effortless and elegant kick of his leg he just seemed to fly over the desk and landed right beside Clive and I. Later we all went down to Docklands to watch Bowie and Jagger shoot the video, once again, two megastars determined to out dance the other. Brilliant.