The Complete David Bowie by Nicholas Pegg

Author:Nicholas Pegg
Language: eng
Format: mobi, azw3, epub, pdf
ISBN: 9780857687197
Publisher: Titan
Published: 2011-06-05T04:00:00+00:00

SCARY MONSTERS ... AND SUPER CREEPS

RCA BOW LP 2, September 1980 [1]

RCA PL 83647, 1984

EMI EMD 1029, June 1992

EMI 7243 5218950, September 1999

EMI 7243 5433182, September 2003 (SACD)

‘It’s No Game (No. 1)’ (4’15”) / ‘Up The Hill Backwards’ (3’13”) / ‘Scary Monsters (And Super Creeps)’ (5’10”) / ‘Ashes To Ashes’ (4’23”) / ‘Fashion’ (4’46”) / ‘Teenage Wildlife’ (6’51”) / ‘Scream Like A Baby’ (3’35”) / ‘Kingdom Come’ (3’42”) / ‘Because You’re Young’ (4’51”) / ‘It’s No Game (No. 2)’ (4’22”)

Bonus tracks on 1992 reissue: ‘Space Oddity’ (4’57”) / ‘Panic In Detroit’ (3’00”) / ‘Crystal Japan’ (3’08”) / ‘Alabama Song’ (3’51”)

• Musicians: David Bowie (vocals, keyboards), Dennis Davis (percussion), George Murray (bass), Carlos Alomar (guitar), Robert Fripp (guitar on ‘It’s No Game’, ‘Up the Hill Backwards’ ‘Scary Monsters’, ‘Fashion’, ‘Teenage Wildlife’, ‘Kingdom Come’), Chuck Hammer (guitar on ‘Ashes to Ashes’, ‘Teenage Wildlife’), Roy Bittan (piano on ‘Up the Hill Backwards’, ‘Ashes to Ashes’, ‘Teenage Wildlife’), Andy Clark (synthesizer on ‘Ashes to Ashes’, ‘Fashion’, ‘Scream Like a Baby’, ‘Because You’re Young’), Pete Townshend (guitar on ‘Because You’re Young’), Tony Visconti (backing vocals, acoustic guitar on ‘Up the Hill Backwards’, ‘Scary Monsters’), Lynn Maitland, Chris Porter (backing vocals), Michi Hirota (voice on ‘It’s No Game (No. 1)’) • Recorded: Power Station Studios, New York; Good Earth Studios, London • Producers: David Bowie, Tony Visconti

On 8 February 1980, while he was on an Alpine skiing holiday with his son Joe, David’s divorce from Angela became absolute. A week later, Joe returned to school in Britain and David arrived at New York’s Power Station Studios to begin work on his new album. Tony Visconti was once again in the producer’s chair, and recalls that Bowie intended from the outset that this would be his first conscious attempt since Young Americans to cut a record with commercial potential. “There was a certain degree of optimism making that album,” said Bowie in 1999, “because I’d worked through some of my problems, I felt very positive about the future, and I think I just got down to writing a really comprehensive and well-crafted album.”

A few early versions of the tracks had already been taped at Keith Richards’s Ocho Rios studio in Jamaica, previously used for the Station To Station tour rehearsals. As before, the backing tracks were laid down by Bowie and his Alomar/Davis/Murray rhythm section, for whom this was the fifth and final consecutive studio album: only Carlos Alomar would work with David hereafter. Lodger guitarist Adrian Belew would later claim that he was paid an advance for the album months earlier, and was surprised to learn that the sessions had gone ahead without him. In the event, most of the lead guitar parts would be played by “Heroes” veteran Robert Fripp, with additional contributions by newcomer Chuck Hammer, whom Bowie had heard playing with Lou Reed the previous year. Another guitarist due to provide overdubs at the New York sessions was Tom Verlaine, whose composition ‘Kingdom Come’ was covered on the album, but Tony Visconti later

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