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>>53402242
>tfw you will never hear the original soundtrack of The Man Who Fell to Earth
There were a couple of medium tempo rock intrumental pieces, with simple motifs and riffy kind of grooves, with a lin-up of David's rhythm section (Carlos Alomar et al) plus J Peter Robinson on Fender-Rhodes-Fender piano and me on cello and some synth overdubs, using ARP Odyssey and Solina.
There were some more slow and spacey cues with synth, Rhodes and cello; and a couple of wierder atonal cues using synths and percussion. There was a ballad instrumental by David that appears on Low (Subterraneans).
It was performed by David, me and J Peter on various keyboards. There was also a piece I wrote and performed using some beautifully made mbiras (African thumb pianos) I had purchased earlier that year, plus cello, all done by multiple overdubbing.
And a song David wrote, played and sang, called Wheels, which had a gentle sort of melancholy mood to it. The title referred to the alien train from his character Newton's home world."
Why live?
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| >> | No.53408851
File: 32 KB, 300x450, 1418702129750.jpg [Show reposts] Image reverse search: [iqdb] [google]
 Bowie was a protagonist of his times, although a poor musician: to say that Bowie is a musician is like saying that Nero was a harp player (a fact that is technically true, but misleading). Bowie embodies the quintessence of artificial art, raises futulity to paradigm, focuses on the phenomenon rather than the content, makes irrelevant the relevant, and, thus, is the epitome of everything that went wrong with rock music.
Each element of his art is the emblem of a true artistic movement; however, the ensemble of those emblems constitutes no more than a puzzle, no matter how intriguing, of symbols, a roll of incoherent images projected against the wall at twice the speed, a dictionary of terms rather than a poem, and, in the best of hypotheses, a documentary of the cultural fads of his era.
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