In 1995, this was a cornerstone of our listening- along with his 1971 The Man Who Sold The World. That title song is where the torch passed for me from the hands of Kurt Cobain back to this predecessor he admired. Station To Station is largely about the process by which Bowie survived stardom- the transition from his post-Glam Plastic Soul to the German-influenced synthesizer soundscapes of the Berlin Trilogy.Not that these things were all plans in place so early on. I wonder sometimes how often he pondered Black Star as his Final Act.
Station to Station was one place where Bowie felt close to death, similarly, his own mortality, that is.
"Jump, They Say" is a Tin Machine-era song he wrote after his brother's suicide.
I had no idea how desperate was the place of Reinvention on Station To Station, when we first passed so many hours dancing and playing card and games, listening.
We weren't clear on the lyrics to "TVC-15"- those misunderstandings produced gales of laughter. "Oh, mighty feces robot" - rock on!
Subject matter in the first track sets the stage for a kind of transmutation. ON this record, we watch Bowie go into the box, then come out sounding little like the Ziggy who took Britain by storm.
"Station to Station" has dual meanings, but I think the trains inspire the rhythm and initial idea David had.
Crackshot team. "Golden Years" charted into Classic Rock territory.
"Word On A Wing" is probably the most profound and interesting track. I realize more often than not, I could see it as my favorite- one of the most interesting, challenging, yet listenable songs he ever made. A prayer from someone outside the spheres of religion, answering a desperate need with the assurance of music: "sweet angel, born once again for me." A salvation within the bars of that song preserved the artist from the overwhelming panic and confusion. It's not simply a song to calm the nerves to stillness: it's lively enough to dance closely, or to your own interpretation. But here's the epiphany to act, and he's "ready to shake the scheme of things." That melodic hook is so funky in its syncopation: you hear a premier beat maker emerging in our enterprising David Jones.
Word On A Wing- if you only give one track a try..here's Bowie's story and a bravura version from '99:
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Labyrinth remained my wife's enchanted ticket to his world. Discovering the vinyl Man Who Sold The World in the same Aurora, CO, shop where we bought Preacher #1 and the comics I'm using this very summer to gather retrospective interviews? Yes!
I got heavily into Bowie's work as a listener, ravenous like never before, in September, 2015. My pal TJ had died rather young, though not unexpectedly. I marked his passing with music and further friendship in the world of the living. Four months, listening to Bowie at least 50% of the time, exploring the catalog for gems. I was also painting, though in very unschooled fashion. We cheered to hear Blackstar was coming out for his 69th birthday. We were stunned for four days when he abruptly then died.
We had covered his songs in public appearances before- going back to our last open mic in Rome in 2005, which brought a strange friend named J.T. into our life before we zipped out to California. I remember, by the pool out there in Escondido, reading an adolescent biography about him in Spanish. I'd gotten it from the local library. Must have been about this time of year, exactly- I did not wait long to have my libary card. I remember practicing "Space Oddity" and "Changes" with my wife on the never-used tennis courts of Mount Vernon Inn. And "Heroes."
In 2016, we got to pay tribute to him at Schroeder's with a bevy of local musicians. I can't remember having more fun on stage. Dani and Amy, take a bow.
I wrote my most pop-Bowie-influenced song for Integr8d Soul, spring of 2016. "Continue PLaying" is kind of like a song that would've fit nicely on Tonight in '84. The kind of song I want to hear while riding an amusement park ride.
"Word On A Wing" is probably the most-praised track on Station 2. It's a complex record, but it's danceable, both fast and slow, and original in presentation.
Now here's a guy who didn't want any tribute shows played without his permission.
Musicology
2004
Prince was 20 years past blowing the absolute roof off the pop world when he released Musicology in 2004. If you wanted a class on black American music in the 20th century, here was an encyclopedia of sounds in 21st-century production, analog instruments, songs in practically every successful Prince style. But I think as mysterious and mischievous as Prince was from the start, his maturity makes him more interesting lyrically. I like how Prince never quit writing and recording and inventing combos for live performance. Nevertheless, this record was a milestone. For one, I believe it was his biggest hit album since '94. By this point, he was practically obliged to re-play a passel of 80s favorites in the '04 live shows- an entire generation had never heard them live! But Prince himself had ambivalent feelings about some of his lyrical ambivalence- and decided some of that shit was just nasty. He had become concerned with what he represented. Yet, mythology-sized doses of horn dog had distinguished so much of his most famous work! I mean, you stop playing "Cream"?
I am a fan about "Erotic City" deep.
Understand, he may have been less in style for the masses at certain points, but Prince was as driven as any professional musician alive.
I was more of a Prince The Hits 1 & 2 fan when I first bought in- depressed, 20, in need desperately of some funkiness. Prince did what Zoloft alone could not. He outlasted that brief pharmaceutical therapy. I let go pretty soon. He'd been around as I got to finally peep MTV in '87, but '84 was the absolute sweet spot with Purple Rain. "Computer Blue" is my favorite song on there.
But Musicology. I have things happen in my life that bring the songs back to me in pieces. When he admits on the last tune, "Reflections," he'd just been thinking about his recently-deceased Mom, that's a moment that comes to me sometimes when I am maybe not feeling up to providing her company or help, to get off my butt and at least see how she's doing, while we live this close together!
And "A Million Days." As a Prince guitar lover, and who isn't, it was awesome to hear Prince rock.
"Call My Name." See, I don't even have to put the album on: this tune has been part of my long-standing happy marriage.
The one thing I had I wish Prince could've known: a love from early days and on, longer together than apart- grooving big time to "Seven" or "U Got The Look" or singing out our hearts to "Sign O'The Times." And yes, that album 30 years into his recording life, the last one he needed to lock up his legend. But you know that guy. Another decade yet, and no end in sight until, I guess, there it was, spring two years ago.
"Cinnamon Girl"- drawing its story from world politics, setting things right with a heroine in a society that's not free- in fact, bombs fall.
It's actually the more fun riff-rocker.
And "What Do You WAnt Me To Do, Girl?" says Prince is still Prince. He's just married these days. But women can be such nice friends.
The song's bass has stayed with me more than any other riff he made after '94- maybe it just fits into the Soul-Music tinged way I saw San Diego.
"Life OF the Party" is as solid as any Prince dance tune, scoring again on an LP with get-up!
I don't mean to take it track-by-track, it's not meant for so many words. They're a poor cover.
Listen instead!
Musicology.
I remember that title track's syncopated groove like it's still Columbus, GA, fall '04.
We were also into two other LPs at the time:
Indigo Girls, Perfect World.
and Best of Bowie.
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