A little while ago I blogged my thoughts on the great man's previous LP, Hunky Dory , That magnificent album succeeds partly on its mystique and its restrained brilliance. The 'Ziggy Stardust' record is a more demonstrative and outgoing creature, dazzling and bewitching, whereas Hunky Dory charms and beguiles. This was all part of the astounding burst of creativity which Bowie essayed in the early 1970s, stemming from his innate talent and a boundless curiosity about cultural trends and modes of expression.
Over the years people have made veiled accusations that Bowie 'appropriated' ideas which were already thriving 'underground' and brought them into the mainstream. Whilst there may be some substance to these remarks, Bowie was far from alone in harnessing such forces, and cultivating the clarity of vision and the savvy to do so successfully is a talent in itself. If it was so easy, why weren't other people doing it to similar effect? My philosophy is simply to savour the product of Bowie's inquisitiveness, which decisively outweighs any qualms which people may voice.
Song-for-song, the record represents a powerful outburst and flowering of ideas. It is more mainstream, arguably, than Hunky Dory, but exudes enormous vitality and command. The music has a crystalline and vibrant urgency which makes it stand out.
For all its reputation as a repository of 'futuristic' and 'visionary' work, much of the album's content is firmly rooted in decidedly 'traditional' rock and pop music styles. So by some interpretations it may be viewed as musically 'conservative', but there is little doubt about it being adventurous and daring in a 'philosophical' sense. This juxtaposition of the musical foundations with the 'poetic' orientations helps to imbue 'Ziggy Stardust' with its edge and its bite.
The 'retro' flavour of some of the music means that it has something in common with other glam-rock offerings from the early 1970s. There, however, the tenuous similarities end. Its sweep and its scope make it altogether more ambitious and progressive than the majority of the 'competition'.
'Five Years', the opening number, very much conforms to notions about musical 'traditionalism' as a motif pervading the album. In another respect this song goes against conventions, in that it is an 'untypical' choice to commence proceedings, not being up-tempo or vigorous. To some extent 'Five Years' introduces a template; 'old-time' with clear traces of modernism. This 'syncretic' character is part of what propels the whole project.
From the outset another pattern becomes clear. For all the talk of 'post-modernism', most of these recordings are underpinned by a solid, organic core, often consisting of acoustic guitars and piano, as a layer anchoring the sound in reality. Depth is thus added to the sonic strata, and the separation between instruments is another appealing feature.
Bowie sounds remarkably self-assured and in control of what he is doing, and this sensitivity extends to ensuring that the music is 'cinematic' without lapsing into bombast, not always an easy balance to achieve. The listener is soon immersed in the unremitting excellence, and there is an abundance of ideas and surprises to maintain the interest.
A word too for those who helped with the production and the arrangements. 'Soul Love' is an example of a fairly ordinary track which is elevated by some inventiveness in these areas. A reminder, maybe, that music is often a 'holistic' discipline.
For me 'Moonage Daydream' is the 1970s Bowie creation par excellence. Again, Bowie exudes a certain mastery, and the dramatic soundscapes help transport the listener to a different plane - there is lots going on!. We also get a glimpse here of Mick Ronson's importance to the sound.
'Starman' is perhaps the most well-known song here. Like many of the compositions, it illustrates Bowie's often-overlooked gift for melody and 'musicality'. The sonic palette is again embellished to great effect, with guitars and what sounds like a Mellotron. It may also be that this song is a showcase for the star's idiosyncratic method of lyric-writing, with words which conjure up vivid images in the mind.
It has to be said that 'It Ain't Easy' is an unexceptional piece, and it sounds to my ears as though they tried a little too hard to infuse it with some zest and excitement.
My feeling is that with 'Lady Stardust' we begin to reach the heart of the album, on more than one level. It possesses a rich and sinuous melody, which in places is redolent of Elton John. The piano is also pleasing. In addition, Bowie's vision and faith in the material comes shining through once more.
'Star' sounds like a part of a greater whole than just a self-contained song. It has a 'live' and 'theatrical' feel, like it might belong in a rock opera. As it happens, it fits very well into this concept-album-of-sorts.
I would say that the next number, 'Hang On To Yourself', has some of the same qualities as the one which precedes it, if in more minimalist packaging. It possibly harks back to the Velvet Underground, whilst also looking forward tentatively to musical happenings of the later Seventies.
The title track has a strong melodic framework, and once more that air of authority which echoes throughout the entire LP. The impression one gets with so many of these tracks is of a preponderance of ideas and creativity from all concerned. 'Ziggy Stardust' the song also contains some memorable lyrical imagery.
'Suffragette City' embodies the same sort of frantic energy as ' Hang On To Yourself', with added Ronson flourishes.
The closer of the original album, 'Rock 'n' Roll Suicide', is a rather unlikely conclusion, meaning that the record is bookended by two intriguing choices. Again, a 'retro' atmosphere prevails here, and there is much to hold the interest as it unfolds.
All in all, The Rise and Fall of Ziggy Stardust and the Spiders from Mars is a delight, and a thrilling and invigorating ride. The music is exuberant yet tasteful, accessible yet profound, edgy yet engaging. A landmark release.
