bono_212
Blue Crack Distributor
I'm truly ashamed.
For all the fuss made over Bowie's hair, costumes and poses, it's the way his voice has shifted over the years that interests me most. The changes have been as subtle as the outfits were overt. Listen to Hunky Dory or Ziggy, and all his vowels are flat, his mouth's nearly closed, his voice is resonating off the back of his front teeth, and he cuts right through all those twelve-string guitars and tinny pianos like the knife of his namesake. But as you go further, through Aladdin Sane and Diamond Dogs to the Berlin years and beyond, a weird thing starts to happen: the voice migrates toward the back of his throat, his jaw drops, his vowels open, and he sounds ever more like his hero Scott Walker, whose spooky intonation on 1977's Nite Flights is almost a dead ringer for Bowie's, except that it's really the other way around. Various "Greatest Hits" comps collapse this process and make it perceptible, and that's where I first noticed it as a kid. By 1978, after a decade or so of recording and performing, the singer of "Space Oddity"'s brash, bratty vowels had morphed into spectral, aristocratic boomings, and they pretty much stayed that way for the next 20 years.
I always wondered why this happened, and whether it was something he did on purpose. Singers' voices tend to age in interesting ways, sometimes gracefully, sometimes not. Joni Mitchell's, burnt (with grim purpose, one suspects) to a dry husk by cigarettes, is an extreme example, as is Robert Plant's, whose much-abused high register has deserted him, though he seems to delight in combing through its damaged remains. Dylan, of course, went through a phase in which his voice seemed to give up on the very idea of singing (though I have an affection for the weird Jim Nabors-like "country" voice of Self Portrait and Nashville Skyline). Closer to the present, Michael Stipe's voice, originally grave and gritty, turned dark and husky, then brightened, cheered up, and became strangely weightless; Bill Callahan's voice opened, dived, and doesn't yet seem to have found the bottom; Gil Scott-Heron's oratory ripened into a splendid growl; Lou Reed's went kind of warbly, lost its once-unassailable authority and eerie tenderness, and hasn't been able (or perhaps doesn't want) to find it again. There are exceptions, naturally — Jimmy Scott kept his high notes up to the very end, though with a slight wobble; Morrisey's voice lost its fun but carried on otherwise, Neil Young's voice seems to have emerged from the egg more or less in its present state, Patti Smith's grew into the age it once affected, and Mick Jagger's cartoony honk is a sort of museum piece, a dogged re-creation of a funny voice he stumbled into as a teenager and milked for half a century.
Which brings us, I guess by way of "Dancing in the Streets," to Bowie, and his voice (or voices) on The Next Day. The choice of "Where Are We Now" as the first single from the record was canny, as it presents a new Bowie voice: plain, vulnerable, a little weary, and — it must be said — old, its glassy surface showing more hairline cracks than when we last heard it a decade ago. But it's bravely, even defiantly old, and it dares you to do the one thing we're not accustomed to doing with an artist who has so fully and publicly embraced method acting: to take him at face value. Buried in the middle of the record, this song might have escaped notice, but as the first song he'd released in ten years, it acquired a special weight.
I'm not really a Bowie fan, but I read this review and thought it was interesting enough to share
His vocals on Lady Grinning Soul are stunning.
Oh I'm still listening to it. For my money, much better than Reality and on par with Heathen. The songwriting is very good and I'm always impressed by how quickly the album flies by.
It's a shame that our excitement before the album didn't translate once it was released.
slight
"Golden Years" isn't cold and distant in my book.
Nor Stay. That guitar cooks.
Is anyone still listening to the new one? It kinda faded fast for me
Is anyone still listening to the new one? It kinda faded fast for me