FEBRUARY 1976

HIGH GEAR

BOWIE STATION TO STATION

by John Nosek

Page 15

Let me say from the outset that the review which follows is largely subjective. By nature, it must be. Back in 1972 David Bowie provided me that final nudge to come out of the closet and change the theretofore directionless existence I was leading. Proud to be gay, Bowie challenged me and others who wallowed in fixed sexual roles to rise above the bullshit and build our own lifestyles. He did so through cosmic folk chimes of Homo-superiors," universally through his interpretation of Biff Rose's "Free" "Happiness is happening. Fear is only in your head; forget your head and you'll be free." ... in "Lady Stardust," "Hang on to Yourself," "Rebel, Rebel," or the stunning and for me most rewarding, "Changes."

In spite of all his contributions to seventies' contemporary music, Bowie has not been an easy artist to follow. He appears unconcerned with the commercial potential he most surely possesses and balks at recycling any packaged formats. Continuously experimenting with different musical styles and mental imagery, he almost deliberately attempts to alienate his audiences. Is he folk? rock? nostalgia? disco? Las Vegas? theatre? Indeed, is he anti-style? Does he not only crush rigid pre-conceptions, but also refuse to build new ones in their stead?

David Bowie's Station to Station continues the mysterious legacy. Brilliantly produced and mixed with three

By John Nosek (Coney Island Baby-RCA) Lou Reed has lead a rather stormy musical career. The backbone of 60's Velvet Underground, he's dabbled in the raw power of the streets hustiers, poetic violence, drugs...etc. His music lay itself on high pitched guitar chords and incessant drumming. In the sixties, while other contemporaries were producing either rockish love songs or political rallying cries, Reed experimented with the then forbidden sado-masochism set to Eastern folk music (on "Venus in Fur"), lustful pusher images on "Waiting for My Man," and gender exchange love on the rollicking "Sweet Jane." The V.U. boasted a small cult following; but they were nowhere near mass acceptance.

At the turn of the decade, Reed disappeared from the public scene. It wasn't until the era of Bowie in 1972 that he returned to rock media attention. To this day the album Transormer is regarded by many as Reed's most successful and accessible solo venture. Bowieproduced, Transformer is a largely gay album. It's not a

dimensional sound and innumerable tracks lay upon each other, this album too resists falling into any secure niche. One could say it's a cross between rock and disco; but to do so would give the work only partial justice.

Retaining the Anthony Newley quality of his voice, Bowie makes Station to Station so carefully metallic, it's almost as if he were signaling music from some galactic stellarship. And yet though the album emanates this feeling, lyrically Bowie, the romantic has temporarily transcended Bowie, the cynic. "Word on a Wing" is literally a knockout.

Half talking, half-singing, Bowie has produced a hymn around drama; one that is as much a love song as a solar excursion into auditory cinema. (Many of the numbers presented here, incidentally, are from Bowie's upcoming science fiction flick, The Man Who Fell to Earth. And what can be more "traditionally" romantic than his rendition of a song that our other brother Johnny Mathis performed so well, "Wild is the Wind."

By now the single from the LP, "Golden Years" has been heard by everyone either on the radio or (bless 'em) at the Akron American and Twiggy's. A novel approach to rhythm and blues, "Golden Years" boldly experiments with echoing sounds (hand claps, washed with guitar and theatrical voice). It is a refreshing change from

much of the fabricated disco music we've been subjected to. (I swear if I hear another oldies remake like "That Old Black Magic," "Venus," or "Baby Face" I'll barf).

ollow up single to "Golden Years" is "TVC15." Depending on how you read the lyrics, it is either about a transvestite or a space TV relay fuck-up. "TVC15" builds into a chanting

STATIONTOSTATIONDAVIDBOWIE

(RCA Records)

"Stay" is a successful attempt at a Latino disco rock merger and makes excellent use of pauses, melody, and pounding rhythm; a downright mover.

An excellent choice for a

refrain that will stay in your head long after the album's removed from the turntable.

When one reviews the album in its entirety, it can be assessed that Bowie made some

LOU REED FOLLIES

political statement in the "pure" sense; but it is one surrealistic, at times even comedic perspective. Sporting both a transvestite and a leather person on the cover of the package, Transformer includes some excellent keyboard work by Mick Ronson and retains the ever present yet now more melodic guitar rifts of V.U. "Walk on the Wild Side," a tongue-in-cheek view of the N.Y. gay scene, is now a contemporary standard of sorts. "Make Up" challenged us to come out of our closets. Although the song depicts a transvestite's exit (I prefer entry), it is clear Reed includes all those in sexual camouflage: "We're coming out. Out of our closets. Out on the streets."

From Transformer the man flirted with different musical styles and musicians. Among them were two live albums which showcased Reed's poetry in a dramatic, electrical setting. The national critics loved the live products; but lambasted three other recent albums; Berlin, Sally Can't Dance and Metal Machine Music.

Due to lack of space for a fuller review, suffice it to say that Berlin is one of the more

depressing, emotion evoking pieces of seventies rock. According to Reed in a January interview with Cleveland's Scene magazine, a film version of Berlin may be in the offering. When it comes to town, if you go, take your razor blades.

Sally Can't Dance was Reed's attempt at a sporadic synthesis of rock and disco. Among the selections were "Animal Language" (bestiality?) and "N.Y. Stars" which featured this classic line: "The faggot-mimic machine never have ideas; Mission impossible; they selfdestruct on fear."

In late 1975, Reed released Metal Machine Music which is wholly experimental electronics. There are no vocals or traditional melodies. Some people called it trash, and many I did their best to ignore it.

Lou Reed's latest effort, Coney Island Baby, reaches to catch the flavor of Transformer. It is still another stage of his musical exploration; this time there emerges a marriage of slide and electric guitars, and uh, a slightly more pop-pier sound. The opening cut, "Crazy Feeling" is a flowing, compact work (good material for a single) It teases at gayness:

"You're the kind of person I've been dreaming of.

I've always wanted to love someone like you.

When I saw you walk through that bar door

And I seen the suit and tie Johns buy you a drink,

I knew you were a queen

conscious stylistic choices. In response to a trend of short wham-bam AM numbers, Bowie deliberately makes all of his songs long. ("Station to Station," the title cut is initially laborious.) Bowie's trademarks, the saxophone and elaborate keyboards, are conspicuously absent also, and there's no poetic theme to the work; bu regardless of these minor changes Station to Station is a highly significant, intriguing. and progressive album.

Bowie rarely writes any music that sounds similar to his previous efforts. Each of his songs and albums are meticulously arranged and produced. A true artist, his only allegiance is to himself and his momentary expression of creativity. It is perhaps this reason that Bowie admitted his gayness publically, long before he became the superstar he is today.

A man of a thousand faces, Bowie will no doubt continue to experiment and move forward. In a February Rolling Stone interview he remarked: "I really honestly and truly don't know how much longer my albums will sell. I think they're going to get more diversified, more extreme and radical right along with my writing. And I really don't give a shit."

Much like Sinatra and Presley, Bowie is a living musical legend. Whatever he does next, it's bound to attract attention. "Transition, transmission" just may be the story of his life.

I know because I've made that scene

You've got that crazy feeling deep inside.

I got that crazy feeling too." As we progress, "Kicks," the musically "hardest" tidbit, shakes with eroticism. Set to the background of party chatter, Reed taunts,

"Hey man, what's your style? How you get your kicks for living?

How you get your adrenalin flowing?"

The other album highlight, "Ooh Baby," which is about a guy from Ohio, jumps from bars to massage parlors. It is tailor made for English discos.

The critics are already jabbing at Coney Island Baby. A local entertainment reviewer criticized Reed for continuing to utilize "faggot ploys," and I anticipate Rolling Stone will fabricate additional drawbacks. Whatever, people either like Lou Reed or they don't. If rock is to your tastes and you like gender mind-fucks, ambiguity, and bitter-sweek lyrics, this album's for you. If you don't, well go on to Bette Midler...Lou Reed doesn't care; you see, its all irreverent.