Defend the indefensible: Bowie's Never Let Me Down

Erdal Kızılçay, otm:

Even though he has yet to hear the new version, Alomar approves of the idea. “I take this to mean that the innovation of Bowie is still there,” he says. “If anything, this will force you to reflect on the fact that things aren’t always what you perceive them to be. Let me prove it to you by keeping the same vocal and changing everything else up. Now do you like the song?”

But Kızılçay, who just learned of this new mix days ago, has an extremely different take on it. He despised the 2008 redo of “Time Will Crawl” (“Rubbish!“) and is so angry about not getting paid for the recent release of a “Let’s Dance” demo that he’s contemplating a lawsuit. “It’s OK to do new versions of the songs, but they have to at least tell me about it,” he says. “On [Never Let Me Down’s] ‘Glass Spider,’ it’s my string arrangements on the synths. If they repeat what I did without crediting me, I’ll sue them. If they don’t put my name on ‘Time Will Crawl,’ I’ll sue them again.”

He’s attempting to hash out these issues by reaching out to Bowie’s management firm in New York, but so far hasn’t had any luck. “I have written them four times and they never got back to me,” he says. “It’s very difficult here in Switzerland, since I have to find a music lawyer in New York. But I’m going to try. This is not right.”

I 100 percent do not agree with the purpose of these re-recordings.

Yeah it's...strange. To say the least.

He still sings badly, and the flourishes are the point.

curious about this box set moreso than the others, but initial reports are that the mastering job suuuuuuuuucks

Love the NLMD remake. Very glad it exists

Finding it hard to understand why people are objecting to this remake. He talked about remaking it as early as 1988 and was clearly bothered by it for years. It was one of his dying wishes to have it rerecorded posthumously, to the extent personally curating the musicians and producer to be involved. Regardless what opinions are of the original or 2018 version, this is what he wanted. With these circumstances, I don't understand why anyone would think it should have been left alone.

who cares what he wants, though? Artists are often wrong.

Righty-ho then

Gotta say:

Ironic Album Title..

Or indeed, ironic thread title.

Had a think about who cares about Bowie wishes and could only come up with his estate, producer, musicians and millions of fans

Whether you think the re-recordings were a good idea or not, I think the result is a triumph considering all the ways in which this could have gone wrong. "Time Will Crawl 2018" is spectacular. I also like how it still sounds like a record that could have been produced in 1987, mitigating the historical revisionism.

long as it's not the only version in circulation (like those dreadful Star Wars remixes) I reckon no big deal for fans of the original (or, more likely, people interested in what the album sounded like)

I also like how it still sounds like a record that could have been produced in 1987, mitigating the historical revisionism.

You're not wrong.

But this record needs the bad solos, Micky Rourke, synth patches, and "Too Dizzy"

I know it's been pulled since 1995, but, really, "Too Dizzy" when "God Only Knows," "Tumble and Twirl," and "Bang Bang" exist?

"But this record needs the bad solos, Micky Rourke, synth patches, and "Too Dizzy""

NOOOO

I think this remake is ok. It fell short of my expectations. Some big improvements, some minor improvements, some things are still crappy. Big revelation for me was 87 and Cry which now sounds like a Tin Machine song (yes I like Tin Machine).

Day in Day Out keeps the 'money/honey' bit which still fucking annoys me. wish they'd edited 'honey' out, it's so fucking lazy.

It's hard to polish this turd but this was an admirable attempt. The redo of this album makes the album as a whole superior to Tonight, certainly.

i'd be down for a non-Reeves version of Hours too but since he cowrote the whole thing that seems pretty unlikely

there’s def a legit alternate version of hours that could be pieced together already

i'm not even sure some of the songs are really strong enough on hours to make doing that worth it. I like boring adult-alternative Thursday's Child and...that's about it.

That album reminds me a lot of ...however you call it, Prince's first non-Prince album, the Symbol album. Good in theory, not very interesting to listen to.

hours... is really the only album I out-and-out dislike from his run from Outside to Blackstar. I find it a bit harsh on Love Symbol to be compared with hours..., though. Love Symbol is in a different league entirely.

To begin with washing the taste of hours out of my mouth, we'd have to redesign the awful sleeve and Bowie's haircut and flip-flops

i grew to like most of hours recently. idk. it’s certainly not the ideal presentation of that material but some of the songs are good if you stare hard enough through the ozone

Is it love or is it what?
Who's this guy I'm gonna blow away, hey
What kind of love is he giving you?

good christ the first post on this thread is some nonsense

as is the second

I love how Bowie dismisses this record ("I was barely involved, I gave it away") when in contemporaneous interviews like this he's very proud of demoing every track and being involved playing guitar and keyboards with the studio band. See: 4:15.

https://www.youtube.com/watch?v=IhaRvqI0nHk

Yes, the pathos around the record is that, unlike on Tonight, he was really trying, and crashed so hard. This is the only Bowie record where I enjoy zero songs (except Pin-Ups, which was an obvious throwaway).

I may try the re-recorded album on the Loving the Alien package, though it's hilariously petty how, in 9 hours and 54 minutes of material, they wouldn't find a place for "Too Dizzy". WE REMEMBER

probably said above but this was the first of the 'bowie back to what he does best' press-on-release narratives that were then repeated for almost every single album after

I have a probably unpopular thesis that “Young Americans” is a precedent to the more concerted and effective sell-out that would be “Let’s Dance”

I dunno -- I thought that when I bought Changesbowie a long time ago?

"Young Americans" isn't a sell-out, though, unless I read your claim wrong.

That is kinda my claim… more of an attempt at it than an actual sell-out

lol watching that clip again I see Bowie stressing how the songs are "not too dissimilar" from the demos he recorded himself.

wow ... this album really is an example for me of things that sound very much "of its time" ... I was in my early teens and bought it when it came out on cassette. I had never associated "Too Dizzy" with theme music for tv sitcoms before now. But it totally sounds like 1980s tv sitcom theme music.

As in I just went back and listened to that song because it was mentioned upthread and I had lol forgotten about it

The use of “Time Will Crawl” in Leos Carax’s Les Amants du Pont-Neuf (released as The Lovers on the Bridge in Anglophone countries) never fails to stun me. He also used “Modern Love” to incredible effect in his 1986 film Mauvais Sang

"Time Will Crawl" played loudly and prominently in Luca Guadagnino's excellent Challengers in a party sequence after "Hot in Herre," the most wtf segue in movie history.

I was wondering yesterday if there is a thread of filthy rich out-of-touch late 80s boomer rockers TELLING IT LIKE IT IS about life on the streets (and/or amongst the povvos)

The question was raised by listening to Neil Young's Crime in the City - which is probably not the most egregious example - but the first supporting example I thought of was Day In Day Out... tbh I was probably thinking of the clip more than the lyrics, but the lyrics definitely fit

In Bowie's case: filthy rich out-of-touch late 80s tax exile boomer rockers.

The notorious mean streets of Lausanne...

Or the mean streets of Madrid.

https://www.youtube.com/watch?v=eYQ0Xd0nybQ