Kingdom Come - David Bowie - Scary Monsters (And Super Creeps) (CD, Album)
Bowie had a professor friend in Tokyo translate the lyrics, and intended to sing them himself. Hirota told Bowie that the translation was literal rather than poetic, and could not fit the melody. Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website.
These cookies do not store any personal information. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website. What is High-Resolution Audio? What do I need for playback? Subscribe Now. Scary Monsters and Super Creeps - Here Bowie slyly acknowledges the influence of extant post-punk shenanigans with a deceptively simple and fast paced spiky rocker sung in that faintly irritating 'wide boy' cockney accent he has appropriated from time to time.
David narrates a tale about a female's descent into madness which takes on an even more sinister atmosphere via Fripp's claustrophobically anguished guitar motif: She asked for my love and I gave her a dangerous mind Now she's stupid in the street and she can't socialise Ashes to Ashes - the mordant title serves as an unapologetic goodbye to the hedonistic and dissolute 70's and says hello to the erm To wit, the anticipated second snare 'thwack' in the bar appears to rush in 'too early' on the 6th eighth note.
However when overlaid with a sumptuously funky synth bass, Alomar's languid but teasing guitar lead and some inspired guitar synth textures from Chuck Hammer, the whole conspires to paint an incredibly complex sound picture framing a simple yet hauntingly memorable song. At moments like these you catch a glimpse of the much heralded genius of Bowie at close quarters. Fashion - It is testimony to the abilities of Robert Fripp that his guitar alone transforms this numbing and clomping euro synth atrocity into a thing of thrilling abrasive beauty.
Once again Bowie jumps into bed with a genre he ridicules disco for a one night stand that leaves the spurned lover believing she to be the creature of his dreams. I once tried to work out what Robert was playing on this track but gave up after about 5 frustrated minutes - it's wantonly perverse, contrary to every musical convention ever proffered as a rule, juttingly angular, blackly chromatic and in places just plain wrong but the 'bespectacled chipmunk' somehow makes such scale, timing and chord choices work Dunno Teenage Wildlife - This has always struck me as a rather strained effort in penning an effortless classic by sheer force of will i.
Heroes the sequel. It ain't bad but cribs somewhat self consciously from the former and despite some magnificent wailing guitar from Fripp on a huge exhilarating chorus is perhaps just a yummy dessert with grandiose delusions of being a main course. A harrowing tale of political imprisonment sung quite imaginatively in the past tense from the perspective of a distant future. Are those who ignore the future condemned to re-live it via reincarnation?
BTW I'm only kidding so don't start a thread on PA y'all Kingdom Come - One of my favourite Tom Verlaine songs is here butchered with an appalling vocal and negligible sensitivity to the irony imbued in the original.
A 'chain gang' song for conscripts decked out in Armani jail wear. The only real 'dry clean only' stain on the album. Because You're Young - David ingratiates himself quite shamelessly with those for whom parentdom will 'never understand' the impotent rage of 'yoof' by flattering to deceive a demographic paying good money to hear that they are the only youth who have ever existed into early middle age and beyond it seems.
We might let Mr Verlaine deliver David his comeuppance here: O foolish heart, crazy thing, you hear any old tune and you sing, you sing Pete Townshend plays guitar on this but I can't hear any trademark windmilling kerrangs from My Generation's ageing author It's No Game Part 2 - a much calmer recapitulation of the opening track as if sung by a narrator whose life hasn't improved much in the interim, but is clearly better disposed to his unhappy and inevitable fate.
Such repetition is not unwarranted as the strength of the musical ideas can certainly withstand further interpretation. I've never trusted David Bowie. His huge and multifarious output always wins my admiration and respect but I honestly cannot name a single track by him that actually moves me emotionally in any shape or form.
Without Ray Davies' charm and humility, John Lennon's acerbic and withering wit, Arthur Brown's strident humanism or Syd Barrett's deadpan whimsy, Bowie comes across as abundantly more talented than the preceding four but cripplingly lacking in any loveable vulnerability or endearing spontaneity. Given that he is consistently reticent to discuss with anyone what his songs are actually about we will continue to speculate futilely just what that soft kernel at the heart of his personality might actually resemble.
It can't be an accident that my favourite albums are those widely loathed by Bowie cognoscenti over the years i. Perhaps it's just the stubborn progger in me that fastens onto his forays outside the mainstream pop realm but to be fair, I have long held the belief that Bowie's songs are populated by characters that no-one including their creator has ever met outside of books and merely serve as 'mind candy' for an infinitely more preferable world than that endured by Bowie's legions of followers.
He steadfastly refuses to reveal himself and I suspect that if he ever did so, we would fail to recognise him. His is the 'method' school of music. Fripp is the undeniable star of a few of the tracks: the title track, for instance, would be a mildly interesting up-tempo rocker with distorted vocals in the chorus, but Fripp's alternation between soaring discordant lines and growling riffage is enough to make the track into a borderline classic.
Even better is "Fashion," which would be a decent enough disco-ish commentary on pop culture with a fantastic hook in the "We are the goon squad and we're coming to town, beep beep" , but Fripp's guitar, so unexpectedly harsh and incongruously ugly in a good way , makes this into a definite Bowie classic. Fripp makes three other appearances on the album, the first in "Up the Hill Backwards," a decent song that alternates between a pleasant shuffle and a combination of the Bo Diddley riff played on acoustic and a bunch of Fripp's patented riffage on electric.
The second Fripp appearance happens in "Teenage Wildlife" the ""Heroes" rewrite , where Bowie gets unexpectedly personal sounding in what I guess is a kissoff to his days as a glam days and what came from his influence. The song is significantly overlong especially, again, for SUCH a blatant remake of a classic from only a couple of years previous , and I don't get quite the emotional catharsis from it that's clearly intended, but there's definitely a lot of passion in it, and the guitar work from Fripp and whoever else is contributing lines is bright and vibrant and all sorts of terrific features.
So yeah, I like it a lot. The third apperance happens in a cover of the solo Tom Verlaine song, "Kingdom Come," and Fripp's soaring line in the introduction and in some of the breaks is definitely the most interesting part the rest of the song isn't especially notable. The most famous track from the album, though, is the one that doesn't feature Robert Fripp but instead, as mentioned, brings back the beloved Major Tom. Anyway, there are two more tracks here, and they're not great, but they're okay.
Chuck Hammer — tracks A4, B1. Pete Townshend of The Who — track B4. Dennis Davis — tracks A2—B5. David Bowie — tracks A2—B5. Roy Bittan track A2. Roy Bittan — tracks A4, B1. Larry Alexander — tracks A2—B5. Jeff Hendrickson — tracks A2—B5. Lynn Maitland — tracks A4—A5. No one breaks through on Scary Monsters. No one is saved.
Major Tom is left unrescued. Where do you go when hope is gone? Slowly, brutally and with a savage, satisfying crunch, David Bowie eats his young. Kingdom Come. Tom Verlaine.
Because You're Young. Spotify Amazon. Up the Hill Backwards David Bowie. Ashes to Ashes David Bowie.David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters/