Tag Archives: David Bowie

Reeves Gabrels + His Imaginary Friends @ The Grey Eagle 10-4-17

Mother McCree! Lightning can strike when you least expect it to! Last night, after making a pizza, I was having a leisurely dinner with my wife. She had looked at the local freekly, which I had brought home yesterday and … Continue reading

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REDUX: The Mid-80s Malaise: 1983 – The Year David Bowie Became Fallible

July 22, 2013 What was it about the mid-80s that made it the harbinger of artistic disaster for so many artists that I had previously thought the world of? By 1985, there seemed to be a perfect storm of political … Continue reading

Posted in Blast From The Past, Bowie, Core Collection, Mid-80s Malaise | Tagged , , | 4 Comments

Record Review: Billy MacKenzie – Wild Is The Wind EP

Billy MacKenzie: Wild Is The Wind UK CD5 [2001] Wild Is the Wind 3:56 Never Turn Your Back On Mother Earth 3:07 Baltimore 7:40 Give Me Time [version] 9:00 It was only after being a rabid Billy MacKenzie fan for … Continue reading

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Raiding The “Ice Box” – Planning An Icehouse BSOG [part 3]

1983 brought a new Icehouse album made with the same band that had toured the previous album, which had been made without them, deep in Keith Forsey’s laboratory. After an album of glossy, synthesizer atmospherics, this one took a half … Continue reading

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David Bowie Memory Palace [part 44]

2016 [continued] The last song on “★” had just been released as the third, and first posthumous, single from the album last week. On my first listen, “I Can’t Give Everything Away” echoed the winsome, Toots Thielemans  harmonica sound of “Never Let … Continue reading

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David Bowie Memory Palace [part 43]

2016 [continued] “Girl Loves Me” was the most deliberately impenetrable track here due to the heavy use of synthetic slanguage. I recognize parts of Nadsat, from Anthony Burgess’ “A Clockwork Orange,” but apparently it’s blurred together with Polari, a British … Continue reading

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David Bowie Memory Palace [part 42]

2016 [continued] From the very first listen, the title song from “Lazarus” [which was the only of the four new songs of that production on this album] made a large impact. The song’s descending hook [complete with a contrapuntal, vertiginous ascending … Continue reading

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