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12 Bowie Albums in 12 Months – Heathen

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Stan Deely on 12 Bowie Albums in 12 Months – Heathen

Bit of rushed job this month – I have had less time to listen and review this album due to time spent away – a week in Tuscany (Not as idyllic as it sounds, travelled by Shearings Coach – 32 hour overnight coach journey to get there and back and the holiday experience could be likened to going on a school outing with 50 Daily Mail readers) and also stewarding at the Green Man festival – expect my ‘Secret diary of a closet middle aged indie fan’ review shortly – and I have done less “research” than normal . However I think that this may well be the best Bowie album so far in this series with scarcely a duff track. Since the last album ‘hours’ in 1999 we have had the triumphant Glastonbury concert, the unreleased (until recently) Toy project and the birth of Bowie’s daughter Alexandra. Recorded in upstate New York with the return of Tony Visconti as producer it finds Bowie and the band matching confident musical arrangements whilst continuing the reflective, middle aged lyrical theme started on’hours’.

SUNDAY
Starting on bit of a curveball with an intriguing downbeat tune. ‘Sunday’ finds Bowie in Scott Walker mode with sonorous wordless backing vocals and the ‘Nothing has Changed’ lyric which would title a compilation album a decade later. This one’s a builder. The sound is a bit electronic but not overly processed or overproduced. Drumless at the start, mid way through introduces subtle percussion. He is in good voice and for the last minute or so the drums kick in. For the first few listens it seems an odd and non-descript way to start but for me after a few listens works a brave and intriguing opener setting up curiosity for what is to follow.

CACTUS
Bowie does the Pixies. A pretty faithful cover of a tune from the lesser known ‘Surfer Rosa’ album. It would be hard to muck this up and they don’t. More conventional and rock than the Pixies version, this incorporates keyboards and backing vocals. Weirdo guitar anti-solo. Keeps up the standard and the intrigue

SLIP AWAY
One of the tunes recorded for the unreleased (until just recently) Toy project we’re back in slow operatic piano led mode. Melancholic, looking back to time spent in New York in the early 1980’s, it’s a similar style to his later nostalgia masterpiece ‘Where Are We Now’ from ‘The Next Day’ Hits an operatic stadium style chorus and generally feels like an important song for Bowie. I can imagine that this was the start of a writing renaissance that gave Bowie renewed confidence which carries on to this album. Talking point – What would have happened if Toy had been released in 2000 as originally planned? Would it have raised his profile and lead to a career renaissance or been another poorly reviewed and received album?

SLOW BURN
Released as a single at the time and I remember it getting some radio airplay. Point of interest seemed to be Pete Townshend on guitar. I remember being unimpressed at the time, thinking it competent but a bit of a retread and nothing too exciting. It didn’t prompt me to investigate the album. More fool me. The song works better in the context of the album maintaining the high standard. Slightly picks up the pace from the last song with choppy guitars and avant crooning in the chorus. Fades out a bit suddenly. I would have been happy for it to go on longer.

AFRAID
Ups the tempo again starting on a Pixie-esque guitar riff and generally employs that kinds of Pixies slightly off kilter rock rhythm. More Bowie patented operatic crooning with with choppy guitars sounding like an American alt rock band from the 1990’s. It’s a bit more ordinary and conventional compared to the preceding tracks with just a hint of doom coming from the lyrics.

I’VE BEEN WAITING FOR YOU.
I was aware there was a Neil Young cover on the album (From his first solo album, the only Neil Young album from the early part of his career that that I’m not familiar with) but I listened to the album at least ten times before I worked out which song it was. Fits in totally with the album and follows on nicely from the last tune. I gave the original a listen and found that this is quite a faithful cover albeit beefed up with heavier arrangement and production. The thing that struck me was not that Bowie’s voice sounds like Neil Young’s but how much on the original Young’s voice sounds like Bowie doing Young! Go figure. I never thought of Neil Young as an influence on Bowie apart from the one off of Kooks but there you go – perhaps he was.

I WOULD BE YOUR SLAVE
This is in a similar style to the songs he was writing for ‘hours’ but also there is something about this series of songs that feels that a clean break or a progression. This is like Afraid part two featuring keyboards over guitar. The backing is a bit non-descript but Bowie’s vocal is affecting. The last few tracks don’t hit the heights of the first four but still acquit themselves well and keep the mood going.

I TOOK A TRIP ON A GEMINI SPACECRAFT
Another cover, this time the Legendary Stardust Cowboy, the outsider artist who gave Bowie half the name and space inspiration for his most famous creathion. Another upbeat alt-rocker. For a song by what most would consider a novelty act it works well enough. Good fun. Keeps up the standard. Sounds like i am damning with faint praise but I like it. Listening to the original which is fun but probably wouldn’t warrant too many relistens I think what he has done here is pretty genius.

5.15 THE ANGELS HAVE GONE
Down tempo and the lyrics continue the mid life, lost, sad vibe. Is this really him or an alter ego character? Rises to another Scott Walker croon fest in the middle. Then the band does a few things to spice it up towards the end. Either a nice groove or a plodder depending on opinion or mood. I’m on the fence but veering towards plodder.

EVERYONE SAYS HI
I knew this one as I think Jonathan Ross played it a lot on his radio show and from my estranged/disinterested stance at the time I remember thinking. “Here’s a decent pop song. He’s not written one of those for a while” Nice pop song about the discombobulated feeling one has when someone dies and the rational brain can’t believe that they are gone for good. Pretty short. Feels a bit “over before it starts” Reminds me of ‘Strangers When We Meet’ on the Buddha of Surburbia album as both are weirdly sequenced poppy outliers.

A BETTER FUTURE
I knew this one at the time as it was on an Mojo or Uncut best of the year CD. Is it David talking to God asking him to get his act together or God saying the same to humankind. More lightweight pleasant pop and supposedly written to his new born daughter so a bit of a companion piece to the previous song which, whilst not specifically about his dad passing does reference it. Another competent but slightly unexciting song. At this stage I am getting almost bored by the uniform standard of almost wall to wall ‘7 – 8 out of 10’ songs and whereas this album would average 8 as opposed to ‘hours’ 7 I am almost willing him to do something a bit more off the wall or even rubbish. Suddenly the uneven nature/variety/heroic failure of Black Tie White Noise/Buddha of Suburbia is looking attractive – See ELEPHANT IN THE ROOM for more on this.

HEATHEN THE RAYS
The final track and a doomy, downbeat end so the album is bookended by deep reflective pieces. Lyrics again referencing religion/spirituality and another drumless electronic arrangement – perhaps a bit too electronic. Apparently Bowie wrote this at dawn and cried after having written it so it must mean a lot to him. As a Buddhist who takes much guidance and solace from eastern philosophy I don’t realy get people angsting over western religion and philosophy but he’s obviously feeling it deeply.

Here’s a live version of the track which makes clear the influence of Berlin Bowie:

Overall I find this album pretty strong. It takes the listener on a bit of a journey building up and fading away with strong, serious lyrical themes. However I feel it may be time to address the elephant in the room that has been bothering me for the last few albums as Bowie recovers and moves forward from his Tonight/Never Let me Down nadir.

ELEPHANT IN THE ROOM
This is a pretty good album. But what does it add to the Bowie pantheon. What is the point of David Bowie post 1983? I was impressed with ‘hours’ last month but now it feels like a mirage – I can’t really remember any tune as particularly memorable or outstanding.

Irvine Welsh in Trainspotting killed nearly all rock criticism dead with Sick Boy’s theory of life. “Well at one time, you’ve got it, and then you lose it, and it’s gone forever. All walks of life. George Best, for example. Had it, lost it. Or David Bowie, or Lou Reed”

Did Bowie lose it after Scary Monsters?. Is his post 1983 just a weak carbon copy or even a David Bowie tribute act? Is latterday Bowie actually any different or better than, for instance, Bowie imitators Suede. My head says No. He is singing better than ever, he has a killer band and is exploring interesting lyrical themes. But part of my heart is saying. “Does it add anything to his astonishing body of work in the 1970’s? Why would I play these albums over those and is he just going through the motions. Is he now a journeyman rather than a genius?. Any thoughts?

SUEDE ASIDE – I’ve always enjoyed the Suede first three albums in a kitsch kind of way but never really taken them that seriously due to their obvious influences and regarding them as a bit of a tribute act rather than a proper decent grown up band in their own right. However I am aware that the reformed Suede have had a career renaissance and feel that Brett Anderson is more interesting artist as an adult family man than he was as a young reprobate drug addict .

Interesting interview with Brett Anderson here (the last half hour) with parallels to Bowie writing songs for parents and children echoing what Bowie does on this album. Any love or opinions on Suede? What are the last few albums like? Anyone heard the new one?

https://www.bbc.co.uk/programmes/m001b9dd

BBC Radio 6 Music – Radcliffe and Maconie, A feast of great music and chat, with Suede’s Brett Anderson
Mark Radcliffe presents a feast of great music and chats to Brett Anderson of Suede.
www.bbc.co.uk

Finally the Japanese CD included another 6 tracks which can be found online, some Toy reworkings and some new tracks and the standard is pretty much up there with the rest of the album so they make a good listen- especially for the trainspotter who can compare the Toy versions with the 60’s r’n’b/Merseybeat style originals.

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Comments

  1. Nice review. I think this is a decent album and Everyone Says Hi is one of his best. Very moving song.

    Glad he didn’t give up in 1983. I think that there is enough of worth in the post Let’s Dance albums even as he moved towards general mediocrity

  2. This is possibly my favourite Bowie album, certainly of the later years, and I remember Jonathan Ross saying something similar. It is very commercial compared to his very last work, but I like a bit of immediacy! It is a go to Bowie album for me – anyone here who hasn’t heard it, then do give it a listen.

  3. A good read that makes me want to try the album again and see if I can hear it as you did. (Not right now – I’m at the beach and a bit deaf.) I’m pleased to see you describe Where Are We Now as a “masterpiece”. I couldn’t agree more. But, as I’ve oft stated (and equally oft been contradicted) I’ve so far heard nothing from that gap between Absolute Beginners up to Where Are We Now that I think merits the masterpiece tag.

  4. I read a book which said Heathen sounded a lot like “Heroes” (probably due to the return of Visconti). I bought it, listened, and was underwhelmed. Perhaps I should give it another go.

    The first three Suede albums are great. The fourth was alright, not helped by Brett’s weak vocals (he was on crack at the time). The fifth was awful. The post-reformation albums are alright, but I rarely feel the need to listen to them. Try the Royal Albert Hall DVD to understand how great they could be on a good night – you can see them go from nervous “this is a one-off gig” to enjoying themselves and “we could do this again” at the end.

  5. Suede did little for me until I saw them live. Brett A is one of the great front men. Not Nick Cave great. But pretty bloody great.

    And Everyone says Hi is one of the great Bowie tracks. Not ‘Heroes’ great. But pretty bloody great.

  6. David Bowie didn’t have anything to prove and could have retired or continued releasing horrible records for 35 years after his so-called last best album Let’s Dance. The fact he didn’t makes me happy.

    Good review Dave. I’d agree that this is the most satisfying record since LD, narrowly beating Heathen and Outside. It really flows along nicely (if you delete the appalling “..Gemini Spacecraft”, naturally).

    Speaking of that song, my Bowie claim to fame is pointing out to Chris O’Leary on Pushing Ahead of the Dame that ITATOAGS is in fact a reworking of “I Thought About You”, made famous by Sinatra on “Songs For Swingin’ Lovers,” which fact was later incorporated into his book.

  7. I enjoyed reading that. Heathen is the LP I played quite a bit because I liked it (rather than from a sense of duty). Moby’s remix of Sunday was on my CD and I really love that version. Everyone Says Hi was about Richey Edwards and 20-odd years later I think of that song when I talk to my older children. Just so they know, y’know?

    Heathen (The Rays) is completely brilliant and is top-drawer Bowie. In the post-83 period it joins Loving the Alien, Thursday’s Child, Hallo Spaceboy, Where Are We Now and Black Star as songs that hold their ground with the best of them.

  8. It’s a great album. Bit mainstream for my taste. He was in a “I’ll show ’em” mood with regard to his previous record company and created a polished, commercial hit.

    There is more to come, of course, but of the Let’s Dance to Heathen period, Buddha is the one I still play the most, followed by …hours and 1.Outside. I admire his skilful way with a catchy tune but I like my Bowie weird and left-field, confounding expectations.

  9. I’m honestly not trying to be deliberately obstreperous, more admitting my own ignorance/prejudice but this series of reviews has been something of a revelation. For me the next album after Let’s Dance was The Next Day. Who knew there was all this stuff? Not me, that’s for sure

  10. You know how reviewers always said “his best since Scary Monsters” – in this case I think they were right. Definitely my favourite of his later period.
    Then again, I also rank Tin Machine up there with his best work, so you may want to take my recommendation with a pinch of salt
    Great review – got me listening to it again after a few years, and it is better than I remember.

  11. Let’s address the Elephant In The Room.

    I think Bowie really enjoyed the nineties. He had made his money in the eighties and could indulge himself. He liked being off the radar, just to the left of the public’s field of view. He explored his past for Buddha, celebrated his marriage in Black Tie and wallowed in his favourite role of avant garde art-rocker for Outside. By the latter half of the decade, he’d surrounded himself with a working band whose company he enjoyed and whose musicianship was stellar. He loved touring, thanked them with Earthling, then bade farewell to his best mate on hours.

    At the turn of the century, he found himself comfortable on the big stage, selling more product. Glastonbury proved he still had the charisma to capture attention and Heathen was as big a commercial hit as anything he had in the seventies. To emphasise the point, he played the whole of Low followed by the whole of Heathen on the tour, the one that didn’t sell compared and contrasted with one that did. He was very happy in his personal life, his professional life and inside his own skin.

    Looking back now, there is a lot of high quality material in his nineties output that would not be out of place on a Best Of rubbing shoulders with much of his seventies work. Yes, there isn’t anything that is in the same stratosphere as, say, Stationtostation but it ain’t too shabby. Certainly, say better than most of his eighties.

    Class is permanent, form is temporary. The amazing thing about Bowie is the longevity of his seventies peak. If he was an artist who only began recording in the eighties, he’d still be regarded as exceptional and you’d be thinking that he was an upward trajectory of artistic triumph by Heathen.

    There is still much to come and I’m looking forward to your reviews, Stan.

    • there is a lot of high quality material in his nineties output that would not be out of place on a Best Of rubbing shoulders with much of his seventies work
      I put it to you that this is an untruth. A false fact. Simply isn’t true. Isn’t, isn’t, isn’t. “Name one example!” say I. “Everyone Says Hi”, “Tuesday’s Child”, “I’m Afraid of Americans” say you. “Bollocks” say I, for considering those songs as good as Life On Mars or Sound & Vision or Heroes is like saying Anne Diamond is as good as Judith Chalmers. You’re never going to fool me with such nonsense.

      • Much does not equal all. You select three of his most fabulous tracks that easily score 100/100 (though, I actually prefer Beauty And The Beast to Heroes).

        However, Jump They Say would follow Diamond Dogs well, The Mysteries could replace Moss Garden on side two of Heroes, Thru These Architect’s Eyes is as freaky as anything on Scary Monsters, Thursday’s Child is as beautiful as Win, I’m Afraid Of Americans is as striking as Boys Keep Swinging and so on.

        I have to confess to having a thing about Anne Diamond when she was a young presenter on Midlands TV. The occasion she presented from inside a swimming pool was particularly memorable. JC never had quite the same effect on me.

        • It’s “Thursday’s Child”? I got the wrong day! No wonder I’m confused.

          I don’t know The Mysteries or the one about architects and look forward to checking them out with closed-minded scepticism. Jump They Say is not in the same league as Diamond Dogs, Thursday’s Child is not as beautiful as Win, I’m Afraid Of Americans isn’t a patch on Boys Keep Swinging and Anne Diamond wouldn’t know the Algarve from Al Gore.

        • Oh Man! They missed a trick there – they should have made a whole series of Anne presenting a show from a pool.
          They could have called it “Diamond Bobs” and got Sir David to rework one of his hits for the theme tune:
          🎶 With her rubber ring
          and her water wings🎶
          Woof! Woof!

    • Don’t you mean the elephant man in the room? My feeling is that there was a desperation to be current in his nineties, at least to begin with, but now he was following rather than leading. He may have been happy but maybe that means accepting a lower standard, music-wise. The muse fades somewhat. I think artists who once made great albums can still be great live though, with the right band and he had the musicians he needed. Everyone says hey! Play some old.

  12. RE the elephant.

    I swing from being puritanical (the best acts quit or die when their muse goes off the boil) to accepting (let the old guys keep on rocking).

    In the case of Bowie, I think I’m with Gary and the Trainspotting guy on the puritanical front, I’m afraid. I find his work from the mid eighties onwards to be just a pale shadow of what he did in his prime, and a big part of me wishes he had just retired from rock music with dignity intact far earlier than he did. His last truly great song I think was Jump They Say.

  13. It’s decent enough as a kind of comeback album, but it’s noticeable that every track on it sounds better when heard anywhere other than on this album. Afraid, in particular, sounds very pedestrian here, whereas even the demo version sounds far better. If you watch the A Reality Tour concert dvd it makes you wonder if everything from this album onwards would have sounded better released as live recordings.

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