David Bowie's Berlin Trilogy

 I have in the past couple of years, belatedly and rewardingly, become a wholehearted and fully-fledged adherent to the notion that David Bowie was perhaps the most important and influential solo artist ever to emerge from Britain. Even now, I think that many people under-estimate just how good he was.

Bowie's period of greatest creativity and consistency arguably spanned the years between, let us say, 1969 and 1984. He maintained a remarkably high standard allied to what, looking back, seems a prodigious work-rate. It seems barely credible that he managed to cram so much into the time available. Writing and recording, not to mention touring and engaging in various side-projects as producer and collaborator. That's before we even get on to his acting career! This productivity and prolific output remain one some of the most notable aspects of the Bowie story.

For what it's worth, my personal view is that his work in the period 1970-73 remains his most vital and his most enduring. The other clearly identifiable series of works which attracts most praise, comment and scrutiny is the so-called 'Berlin Trilogy', released between 1977 and 1979, in the form of the albums 'Low', 'Heroes' and 'Lodger'. 

I approached this blog article with a vague sense that the trilogy had received slightly excessive praise, that the critics had grasped hold of these records out of relief, following Bowie's musical excursions and meanderings of the mid-1970s. Anyway, in order to confirm or refute my tentative analysis, I resolved to review the three LPs and commit my conclusions and observations to blog form.

Of course it is debatable whether the sounds unveiled on 'Low' were genuinely new or revelatory to the music-listening public at large. Groups such as Kraftwerk and Tangerine Dream and, to a lesser extent, Can and NEU!, had acquired some attention on both sides of the Atlantic, so this brand of experimental work came as less as a shock than some might might have us believe. This, however, was an established, mainstream rock "superstar".

It is worth mentioning how much of the material on 'Low' is instrumental - 'Speed Of Life' and 'Sound and Vision' (sort of !) for example. Bowie was clearly sufficiently enamoured with this type of music to take this step. It was also a sign of his confidence and comfort with the new technology which he was utilizing.

'Low' has its hard edges too, and an uncompromising side to it . Songs such as 'Breaking Glass' display no little aggression. It may be that some of the rhythmic vigour was a legacy of the 'Station to Station' album. The directness could also have been prompted by the shadow of punk, which was making a genuine impact in Britain in 1976/77.

By and large the synthesizers and the experimental features do not come across as gimmicky. Bowie and his colleagues managed to make it sound as though this was a perfectly logical new direction, but also a matter of wrapping some familiar Bowie hallmarks in dynamic new clothes.

Like its two successors, 'Low' is not quite as 'experimental', not quite as much of a departure as might be deduced from some of the comments one hears and reads. Traditional song structures and musical basics still just about predominate, although songs such as 'Always Crashing In The Same Car' and 'Be My Wife' would have been regarded as unusual by more vanilla circles in 1977.

There is a uniformity of sorts to the musical palette of 'Low'. Meaty, big drums and sinuous bass lines, overlaid by keyboards and guitars. A few years ago this recipe might have assailed my ears as 'synthetic' or 'soulless', but I know better now.

The second half of the record is where much of the interest resides. 'A New Career in A New Town' is quite radical-sounding, with the influence of Can detectable in its quieter moments. As with most of other other numbers, there is plenty going on to hold the attention.

'Warszawa' is on on another level, both emotionally and sonically, to what surrounds it. A brooding 'semi-instrumental', bearing the stamp of Brian Eno. Making clever use of 'wordless vocals', it is perhaps the centrepiece of the album. Like other parts of the album, it is distinctly 'central European' in its influences.

'Art Decade' is almost a continuation of 'Warszawa'. As for 'Weeping Wall', there once again is that irresistible, intangible pull, atmospheric in a way that even the other quasi-instrumentals cannot quite manage.

The closer, 'Subterraneans', which was apparently inspired by East Berlin, is appropriately unsettling and stark, and features a great and evocative saxophone solo. 

To be fully appreciated and understood, 'Low' has to be listened to in its entirety and 'in sequence'. Only this way can one grasp and comprehend where Bowie was in 1977, and where his thoughts were leading him. The result is a measure of his imagination, his curiosity and his restless energy. My esteem for this work has been elevated a notch.

'Heroes' commences with 'Beauty and The Beast', which in part appears to take up where Side One of 'Low' left off.  Robert Fripp's guitar contributions add something to the mix, literally.

The title track of 'Heroes' is, of course, justly celebrated and revered, and it does embody those traits which made David Bowie so important and rewarding. The song is even sometimes cited as a "hinge" uniting two eras of rock music, or at least signifying a change.

I would say that this record feels considerably less "Berlin" in character and substance than 'Low', There could be more than one reason for this perception. The overall mood is more cheerful and less foreboding, perhaps reflecting what was going on in Bowie's mind and life. Also, what instrumental fare there is on 'Heroes' is different to that which formed the backdrop to 'Low' - although 'Sense Of Doubt' tries its best!

Other instrumental passages on 'Heroes' are more purely ambient in nature; 'Moss Garden' is the main example of this. 'Neukoln' on the other hand is more avant-garde than menacing; great saxophone part, too.

Whether all this makes it a more pleasant and congenial LP to listen to is still I guess a matter of personal taste or inclination. To me, it lacks a little of the gravitas and measured mastery which were so palpable with 'Low'.

So, it is a more buoyant and 'ebullient' record than the one which came before it, but this does not equate to 'better' or 'superior'. It lacks the philosophical depth and emotional power of 'Low', notwithstanding the presence of the 'Heroes' song itself.

It would not be surprising if the initial energy which was summoned up on 'Low' could not be sustained, leading to a slightly different type of record. Who knows, Bowie may have wanted it that way....

To be frank, I have never really associated 'Lodger' with the other two, and it often seemed that the reason for its existence was that it was an album which followed those other two, and journalists and others could therefore speak in terms of a 'trilogy'. If anything, my mind links 'Station to Station' with the series more than 'Lodger',

Also in my recollections, 'Lodger' has been linked to the musical trends of 1979 and beyond, rather than connection with some thematic or stylistic continuity from before. This may be because 1979 was the year when I first became truly interested in music on anything more than a superficial level. I was too young to remember the hype and chatter about 'Heroes' or 'Low', and the profound outpourings of critics and observers would have gone completely over my head, anyway. It was interesting to see how 'Lodger', more freed from the aforementioned preconceptions, would stand up.

The 'world music' content and orientation have been cited (Middle Eastern, African), but they hardly jump out at me. If Bowie was indeed exploring such genres, it would be typical of his ceaseless search for inspiration and knowledge. It would also be characteristic if those styles were absorbed into his musical framework in a subtle manner. 'Yassassin' does have quite an impact, the first truly impressive track on the album.

After a sluggish beginning the pace and the intensity pick up; 'Red Sails' maintains some momentum, with echoes of the German group NEU!. 

'D.J' reminds me of Talking Heads, and it presages some of the material which would be found on the 'Scary Monsters....' record. The song has some conviction to it, and this goes a long way.

Some of the songs ('Look Back In Anger') are illustrative of the artist's uncanny knack of anticipating trends (or alternatively of harnessing forces already present underground). Quite a lot of 1980s music can be heard in 'Lodger', as with the two previous albums, but presented here in more digestible and compact form.

Sound-wise 'Boys Keep Swinging' starts almost like 'son-of Heroes'.  I remember this song being played heavily on British radio in that year of 1979. It bears some Bowie trademarks, the relatively simple 'rock n roll' melodic and rhythmic foundation, the enigmatic lyrics and the backing vocal arrangements and 'horns'. It was the obvious choice as a single. Traces of 'Diamond Dogs' and 'Blue Jean' can also be heard within it, methinks.

The album does rather tail off after 'Boys Keep Swinging'. The track sequencing perhaps left a little to be desired?

So, how do I sum up the Berlin Trilogy? The three works each possess their own identity. 'Low' remains the most substantial and impactful, the most radical and the one which adheres most recognisably to the Berlin 'concept' (if indeed there was a concept), in artistic terms at least. 

'Heroes' is also excellent, but appraisal may have been skewed ever so slightly by the hold which the signature tune has on our collective consciousness.

'Lodger' is good in parts, but it lacks the edge and the breadth of ideas which propel the other two records towards some kind of greatness.

Above all, these three albums show Bowie's fearlessness, his openness to new ideas, the vigour of his quest and his refusal to settle for easy options or to tread water artistically. Overrated, underrated, it is almost irrelevant. These are important collections, and they should be experienced by every serious student of rock music. Their legacy continues to be heard and felt in our music and culture in 2022. 

Animals - Pink Floyd

Following on from my review of Pink Floyd's Wish You Were Here album, it seemed logical to more closely examine the record which succeeded it, titled Animals.

Traditionally Animals had largely escaped my close attention.  I invariably skipped over it whilst navigating their catalogue, moving directly from Wish You Were Here to The Wall.  It seemed a bit of an anomaly, a fly in the ointment, and even the record's title and artwork may have acted as deterring factors for me.

More recently, however, I have grown significantly more receptive to the album's tone and its philosophical angles. My own world-view has moved on, becoming more radical and left-leaning, more conscious of the societal forces and dynamics portrayed and critiqued here. Anyway, I quickly discovered that Animals was in fact less antagonistic and 'threatening' than I had previously imagined. It is still though a powerful and impactful work, both musically and lyrically.

One of the striking features of Animals is the direct, almost rhythmic, hypnotic character of the sound. The music comes across, to me at least, as less contrived and ponderous than some of their other work, and it complements the less cryptic nature of the words, whilst also holding the interest. These characteristics are heard in the album's first major piece, 'Dogs'. This song sets the tone for what follows. David Gilmour is on stellar form on lead guitar, and the backing formed by the rhythm section and the keyboards is vibrant and engrossing. 'Pigs (Three Different Ones)' operates in a similar vein.

In some quarters I have heard it stated that the Floyd's lyrical approach here and elsewhere smacks of 'overkill', and that in some sense the 'grandiosity' and stridency might actually dull or obscure the effect of the message, turning people off.  One's attitude to this I think depends on the listener's personal preferences. It does make a change for a band, especially a prog-rock band, to adopt direct, 'harsh' methods, and the album would not be half as memorable or enduring if it had been compromised by a dilution of the passion and vigour.

What I would say is that some of the lyrics might feel corny or trite to modern ears and eyes; some might compare them to the sort of over-earnest things that could have been written by an excitable and idealistic teenager. That doesn't mean that they lack relevance or strength, and arguably it helps if the listener concentrates on ascertaining the broader meaning behind the words rather than according great credence to the literary merits or sincerity of the lyrics themselves.

'Sheep' is the musical and poetic centrepiece of the LP.  It has a deeply impressive fluency and self-assurance which imbue it with genuine authority. The propulsive bass and the evocative electric piano part are two of the potent ingredients which form a formidable whole. This song is a major reason why I view Animals as signalling the way into the future, both musically and philosophically, rather than harking back to past statements. The production and overall effect feel more 1980s than 1970s. Even by the standards of Pink Floyd, these recordings seemed to represent a departure from a comfort zone, a reaching for liberation.

This album does not exude the sonic diversity of other Floyd works, but the very narrowness and concentrated focus of its anger and its gaze are what contribute to its authenticity and its ability to unsettle and foster contemplation. It must also be mentioned that the concerns and grievances expressed here remain as pertinent and crucial as ever, if not more so. The allusions and metaphors employed on Animals are pointed and unapologetic, and for these reasons it is probably the Floyd album which I would most like to reach the ears of younger people today. 

Out Of The Blue - Electric Light Orchestra - album review

In the corridors of music history, there is a curious tendency for a consensus to emerge about what is a particular artist's best album, when that artist has produced other work which is far more deserving of that accolade. I put this down in part to lazy "scholarship", and the herd mentality which guides these matters.

I am inclined to think that Electric Light Orchestra's Out Of The Blue does not quite, in the cold light of day, live up to the uncontested glow which has surrounded it since its 1977 release. It does contain some entertaining and enjoyable tunes, and it is overflowing with the craftsmanship for which Jeff Lynne is rightly famous. The Beatles leanings are still clearly evident, with increasing echoes of Roy Orbison in some of the ballads.

The quality of the songs and the level of inspiration are uneven though, even allowing for the quota of filler material which turns up on most double LPs. The production and sound are steadily growing distant from the more earthy and organic character of the group's earlier works, and too many of the tracks are bathed in a certain clinical sheen, which unnecessarily obscures and stifles potential nuances.

Notwithstanding my criticisms, what is good on Out Of The Blue is very good indeed. The curtain-raiser, "Turn To Stone", does not fall victim to the excessive lushness which is evident elsewhere. There is abundant melodic invention and energy here, the latter largely stemming from the bass-synth which propels the piece along, and the "detached" feel of the vocal.  The song has its own persona and dynamism.

A song which has a similarly infectious charm is "Sweet Talkin' Woman", with some pleasingly intricate vocal arrangements, and the song manages to maintain its bite and momentum, a tribute to Lynne's innate pop sensibility.  These qualities are also on display on "Across The Border", one of those interesting and quirky "minor" tracks which pop up throughout ELO's canon.

Many of the tracks betray a genuine effort to convey atmosphere, story and mood - "cinematic" thinking, one might even say.  "Night In The City" is a case in point, although on reflection the song somehow loses its impetus, and never quite lives up to its impressive and evocative opening stages.

The weaker material is largely concentrated in the "middle" of Out Of The Blue, and this may be one of the reasons why it appears better and more consistently strong than it really is.  "Believe Me Now" is a likeable if throwaway vignette.  The "Concerto for A Rainy Day" (side three of the vinyl LP) was a clever idea, but does not really work for me, with the glaring exception of "Mr Blue Sky".

"Mr Blue Sky" has over the years gradually become Electric Light Orchestra's signature tune, and I discern that it is a distant relative of The Beatles' "A Day In The Life", although it is philosophically much less profound or ambitious. It is the song's innocence and kaleidoscopic zest which I find irresistible, rather than its musical complexity.

The double-album format permits the odd bit of experimentation, such as the instrumental "The Whale", as well as excursions like the endearing paean to the band's home town, "Birmingham Blues".

The album's concluding track, "Wild West Hero", harks back to the Eldorado days in its outlook, and is one of the group's forgotten gems, possibly because it is deemed to be less "radio friendly" than some of their other hits. The production becomes excessive towards the end, and this negates some of the melodic charm, although the bombast may have been intended to sign the album off with a grandiose flourish.

So, there we have it. A collection of melodic, lovingly crafted pop/rock songs, and some vague sense of cohesion,  but the sound is becoming overly formulaic even in 1977.  Out Of The Blue is definitely worth checking out, but for a more satisfying and authentic take on Electric Light Orchestra, seek out On The Third Day, Eldorado or A New World Record, or indeed any of their earlier releases.

The original Star Wars trilogy (Episodes 4,5 and 6)

Just recently I watched the first three Star Wars movies on DVD (that is, those originally released in the period 1977-1983), and it was fascinating to see what new perspectives and observations I developed, having not watched them for some little while.

I did not see the first film at the time when it was first released in 1977.  Instead, I saw it a couple of years later.  It was during the school holidays, and myself and my brother were showing signs of extreme boredom, when we discovered that it was showing locally. This delay in experiencing "Star Wars" may even have increased the effect it had on me.

The opening "scrolling screen" sequence, and the accompanying music, still sends shivers down my spine, I am happy to report. This time I was able to appreciate nuances of the plot and the characterizations, rather than simply being awed by the special effects. I had forgotten, for example, how much of the early going in "A New Hope" is taken up with the adventures of C3PO and R2D2. The versions which I watched recently were the Special Editions, but I did not feel that the changes made detracted that much from the original effect. The mystique was not tarnished.

Another thing which surprised me was just how much screen time Peter Cushing has in the first film. He, along with Alec Guinness, adds much gravitas to proceedings. It is also amazing how many well-known British actors pop up in all sorts of roles right across the trilogy.

Lots of parts of the first film are memorable or engrossing. The bizarre chess set on the Millennium Falcon, the scene in the garbage dump on the Death Star, and Luke's close encounter with the "Nessie"-like monster.

I kind of like "The Empire Strikes Back" more than the other two films. It has the benefit of having the "backstory" from the first movie to enrich it, and the major characters have become more established and familiar. Also, some "secondary" figures feature prominently, such as Yoda, Lando and Boba Fett. The ambiguities and quirks in the wider Star Wars firmament are brought out more, and this contributes to a darker tone.

The contrast and richness in the settings also makes "The Empire Strikes Back" formidable, from the early stages in the snow and ice of Hoth to the swampland where Luke finds Yoda. The parallel stories, of Luke and the rest, is another strong point. And of course the conclusion of the movie is riveting. This one feels like an episode in a TV sci-fi series.

Watching "Return of the Jedi" again, there was less that stood out for me, and I will confess that I have mixed feelings concerning this one. The extended presence of Jabba the Hutt and the Ewoks makes it tough to take it entirely seriously, although in fairness this means that it is different and distinct from its predecessors. The silliness is mixed with some fine action sequences, such as the speeder bikes and Lando's exploits with the Millennium Falcon. The inter-cutting between the locations is well done, and once again the climax is awesome. To my shame, I had utterly forgotten that Luke and Leia were revealed to be siblings!.

An aspect of the trilogy that I am reminded of is how some technology is portrayed as being benevolent in nature, mainly through the "human" characteristics of the droids C3PO and R2D2. Another interesting and attractive dimension is the heterogeneous character of the rebels, their informality and optimism contrasting with the regimentation and rigid conformity of the imperial people.

It has been pointed out that despite being space movies, these stories drew heavily on scenarios from other films and literature. The scenes on Hoth contained elements familiar from tales of polar exploration and derring-do, and of course Cantina is straight out of a classic Western.

I am glad that I watched these films again. They are always invigorating, and remind us of a time when mainstream cinema was allowed to be fun and escapist again. My recent experience may even persuade me to explore the three "prequels"....

News Of The World - Queen - album review

This record, released in 1977, marked a transitional phase for Queen, the end of their "classic" period, and the dawn of a more uncertain time.

Less time was taken recording this album than had been occupied making some previous ones, and the finished product had less polish, and more grit, than people had become accustomed to. Some, but not all, of the songs exhibited a more stripped down feel.

News Of The World also saw Roger Taylor and John Deacon making further inroads into the songwriting dominance hitherto exerted by Freddie Mercury and Brian May. This factor affected the content of the album. Stylistic unity was diluted, but horizons were broadened.

The influence of punk on this record, in purely musical terms, is debatable. However, the energy and spontaneity possibly owe something, even subconsciously, to the shifts in the cultural climate. The album's flavour may simply have been born of a desire, unconnected with new movements, to go in a less complicated or grandiose direction.

Of course, by far the best known songs on the record are "We Will Rock You" and "We Are The Champions", opening the running order and tending to obscure and overshadow much of what follows. Like so many popular songs, these two anthemic tracks enjoy a prominence far out of proportion to their artistic merit.

One of the highlights for me is "All Dead, All Dead", a typically introspective and ethereal Brian May composition. It has a pleasing melody and an understated, enigmatic character. One of the most unjustly overlooked Queen album tracks, in my humble opinion.

"My Melancholy Blues" has received greater recognition, as one of Freddie Mercury's most likeable and dextrous piano ballads. The composer's vocal and piano talents are well projected here, and it was an inspired choice as the closing track.

So where on the record do we encounter the new rougher, leaner Queen? Well "Sheer Heart Attack" is an obvious place to look. Frantic and relentless, with lyrics which touch on sentiments being vented by the younger bands emerging at the time. Lacking the finesse which characterizes many Queen tracks, critics might charge that this was a clumsy attempt to appear "hip" and "relevant". I would disagree with such assertions, as this was no great departure for Roger Taylor, sonically or lyrically. "Fight From The Inside" covers similarly urgent and abrasive terrain.

"Get Down, Make Love" is an unusual track, and one which is in keeping with the disorientating nature of some of this record. It is difficult to know what the melodic or musical origins of this song were, and its structure and rhythmic patterns anticipate other Freddie songs such as "Bicycle Race".

The simple and immediate "Sleeping On The Sidewalk" is also in accord with the overall thrust of News Of The World. It was by all accounts recorded rapidly, and it benefits from the resulting lack of artifice. A chance to hear some bluesy Brian May guitar work, which was a rarity on Queen records. The lyrics' ambivalence about fame and fortune, and the vagaries of the music business, were a recurring theme in the band's catalogue.

Ironically it was John Deacon who contributed one of the most "Queen-like" items on the LP, "Spread Your Wings". In fairness, this may have something to do with the arrangement with which the song was furnished. John also supplies "Who Needs You", a composition more in line with his "pop" reputation.

The other number in the patented Queen mould is Brian May's "It's Late", but even here we discern less emphasis on the perfectionism and layered approach of earlier times. The earthy guitars and the muscular rhythm section are testimony to this. As elsewhere on the set, Freddie's full vocal range is subordinated to a more raspy, throaty sound. That said, the song has a strong and affecting melodic appeal.

Despite new areas being explored, even casual observers would be able to identify this as Queen. In contrast to its predecessor, A Day At The Races, this record at least shows the band evolving. It may not be their best achievement, but the "attitude" and sporadic directness makes it an intriguing and enjoyable listen. It still sounds fresh, partly because it exudes some belief and conviction.

In its eclecticism and nods to "modernity", this record also set the group on the path towards what would start to crystallize on 1980's The Game. It was an uneven and patchy road, but the modern Queen sound began to emerge here.