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HEATHEN
One of the UK's most innovative, critically acclaimed and commercially successful recording artists, David Bowie's fall from grace (according to popular wisdom) has been often told - a string of brilliant albums in
the seventies; commercially successful but artistically redundant work in the eighties; and trying to jump on every bandwagon going on the nineties.
Whilst the first two elements are probably true, I think Bowie's recent efforts have been harshly treated - OK, 97's 'Earthling' was a bit of an attempt to capture the zeitgeist with its use of drum and bass - but
the album was partially successful, whilst 99's 'hours...' saw a solid return to his singer-songwriter days a la 'Hunky Dory', even if it was a little tentative and under-produced.
However, one thing that everyone seems to agree with is that 'Heathen' is a genuine return to form. This has, of course, been said before, so I bought it with the usual feeling I get before listening to modern
Bowie - there will probably be a few good songs, but it won't match his seventies heyday.
Thankfully I was wrong - even on first listen 'Heathen' hit home, and (many) subsequent listens have lead me to the conclusion that this is easily Bowie's best work since 1980's 'Scary Monsters' album...
Personnel wise, Bowie has parted company with long-time guitarist Reeves Gabrels and, perhaps more significantly, is back working with producer Tony Visconti, responsible for Bowie's excellent string of albums from
'Low' through to 'Scary Monsters' as well as the earlier works 'Space Oddity' and 'The Man Who Sold The World'. Visconti also provides bass, with David Torn on guitars and omnichord, and Matt Chamberlain on
drums. Various big-name guests also pop up on the album, including Pete Townshend, Dave Grohl, Tony Levin and Jordan Rudess.
Bowie hits the bulls eye immediately with the dark and moody opener 'Sunday'. Its opening lyric "Nothing remains..." (and later line "everything has changed...") prompted many critics to
question whether this was written about the events of 9/11, but Bowie has stated this was not the case. Instead the song, as do many on this album, appears to focus on Bowie looking back on his past and the
process of ageing...
Musically this lies somewhere near Massive Attack territory, with its repeated drum loop and slightly trip-hop-esque beat, with the ambient soundscapes layered over this rhythm reminiscent of Bowie's 'Low' era.
His vocal here is a low croon, but it is well to the fore in the mix - in fact, one of the things you notice immediately is how good Visconti is at producing Bowie's voice - it sounds excellent throughout. About two thirds of the way through, the tension that has been built up is finally released as real drums and bass guitar are brought in to lead the track home... a wonderful opener.
Next up, Bowie tries his hand at a cover version of The Pixies' 'Cactus'. The original's wild guitar feedback is reined in a little here, and Bowie's crystal clear pronunciation means that the lyrics are
finally audible - although they still make absolutely no sense! If you didn't know this was a cover you'd imagine Bowie had written it, as it fits his style like a glove.
Melancholy synth notes introduce the next track, the wonderful 'Slip Away'. Lyrically this is once again rather mystifying - references to obscure characters ('Uncle Floyd'? 'Oogie'??) abound - but musically
this is fantastic, with the soaring chorus showing Bowie the vocalist at his melodramatic best - it reminds me a bit of his delivery on the 'Station To Station' track 'Wild Is The Wind'.
Jordan Rudess plays grand piano on this, which really adds to its class and majesty. This is Bowie at his very best.
We're back into rockier territory with 'Slow Burn'. The rhythm here reminds me of Bowie's '77 hit 'Heroes', although the song also nods to the 'Ziggy Stardust' era with some nice sax accompaniment on the
chorus. Pete Townshend adds some excellent lead guitar work on this track.
'Afraid' is more reminiscent of Bowie's mid-90's work - only it's better. This has a very effective edgy feel to its verse, before violins sweep in for the chorus, working surprisingly well with the slightly
indie-ish guitar work.
This is one of Bowie's best vocal performances on the album - he even strains a little to reach the high notes at one point, which doesn't detract from the song at all, but rather adds to the effect, making Bowie sound human - not always the case on his earlier albums!
'I've Been Waiting For You' is another cover, this time of a Neil Young track, although tellingly the Pixie's also had a go at this, which is where Bowie's probably coming at it from. Another effective rock
track, this has a big chorus and some nice effects, with lots of echo on Bowie's vocal and sustain on the lead guitar adding something extra.
'I Will Be Your Slave' has a strangely effective "talking drum" sound throughout and again uses a string section very well; in this case providing the main melody.
This has a "late night" feel about it - difficult to describe, but you can imagine that the video would feature Bowie walking through some rain-soaked dimly-lit city streets - Berlin maybe? The understated but effective use of guitar is the icing on the cake of yet another great song.
The next track - the third and final cover - is probably the strangest track here. 'I Took A Trip On A Gemini Spaceship' was written and originally recorded by the obscure cult artist The Legendary Stardust
Cowboy - a man who inspired one of Bowie's finest creations, 'Ziggy Stardust'. This soars along on what you could call a disco dance beat, with all kinds of "spacey" sounds chucked in for good
measure. Bowie's vocal is quite arch here, and you have the impression its some kind of in-joke, yet the song does work - although I don't know why!
'5-15 The Angels Have Come' is a laid-back, fairly relaxed song with Bowie in soul-crooner mode, especially on the chorus. The verses have a faintly ethereal air to them, with some nice laid-back guitar and
choral-like synths.
'Everyone Says Hi' is a sentimental ballad, but in the very best way. Apparently written by Bowie for his son, imploring him to keep in touch wherever he may be, it gains effect by being genuinely from the
heart.
Bowie sings with touching restraint, and the use of strings on the chorus is again skillfully done. There're some nice backing vocals here (the return of the 'Wa-Wa-Wa-Doo' backing girl chorus which is familiar from his eighties hit 'Absolute Beginners'), and the song really builds a momentum towards its end, as all great tracks should.
'A Better Future' has a simple but effective nursery-rhyme feel, with Bowie's childlike vocal delivery seemingly at odds with the slightly dark and sinister "demands" listed in the lyrics. As ever,
around the simple main rhythm all sorts of other instruments are brought into play, in particular some great lead guitar work towards the finale.
The album ends, as it started, on a darker note with the brooding 'Heathen (The Rays)'.
This is a slow-paced track, with some industrial-esque guitar, a marching drum pattern and some chilling synths making for an unsettling backdrop along which Bowie sounds at his bleakest ("All Things Must Pass...").
Overall, this is a superb set from Bowie which should both satisfy original fans and provide a perfect introduction to the newcomer, given that it encompasses so many different styles and musical themes.
A highly recommended album from one of the greatest artists still around.
Tom 11th September, 2002
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