See The Guardian. Plus photographer Chris Duffy’s book Aladdin Sane 50. ‘Camille Paglia, a US feminist academic, described the picture as “one of the most emblematic and influential art images of the past half-century, reproduced or parodied in advertising, media and entertainment worldwide”’. Ken Scott the producer will be in conversation with Colleen ‘Cosmo’ Murphy at Classic…
I had the pleasure of seeing maestros Mike Garson and Earl Slick in a relatively intimate hall (less than a thousand capacity) from two yards away. What a treat to see up close the skill of the original musicians of two of the most challenging and memorable of instrumental pieces. Needless to say, one of…
Over the past few months I’ve been listening closely to Heathen and haven’t tired of it at all, despite some minor annoyances. Echoing many others, the interesting thing about this album is that Bowie, finally and for once, consistently makes good on closing out the amazing legacy of his golden years (1970-1980). Heathen (see a couple of…
For those who can’t access BBC player here is (a version?) of the show that has just been broadcast along with a companion piece featuring some of those who worked with him. (For the second time, the first vid has been pulled — just search “Bowie: The Last Five Years” in YouTube and perhaps someone has reposted).…
As ugly as a teenage millionaire pretending it’s a whizz kid world You’ll take me aside, and say “Well, David, what shall I do? They wait for me in the hallway” I’ll say “don’t ask me, I don’t know any hallways” But they move in numbers and they’ve got me in a corner I feel…
With the usual hype beginning to emerge people seem to forget that Bowie had such a deep sense of musical discrimination, allowing his musicians to get on with it, one of the most notable cases being that of jazz musician Mike Garson (Bowie’s Piano Man) who brilliantly lifted what was, by Bowie’s standards, a rather middling effort (and…
manwithoutqualities 