Guitarist Gerry Leonard was one of a private few working on the new David Bowie album, The Next Day. Leonard played with Bowie previously but surprisingly found himself in the mix on the new project. As with Earl Slick, the Irishman was sworn to secrecy. From Independent.ie:

I keep telling myself I’m just a guitar player from Clontarf (north Dublin), but it does seem a bit crazy when you have David Bowie singing in your kitchen and you can’t tell anyone about it.
Take a look at the entire article at Independent.ie.

David Bowie unexpectedly released a new song last week with a new album to follow. Longtime collaborator Earl Slick was back in the studio with Bowie, working under total secrecy. As Slick told Ultimate Classic Rock, it was hard to contain his excitement:

I went in and did all my stuff in July. But do you have any idea how many interviews I’ve done since May, with this under my belt, which I couldn’t say anything about? It was horrible!

Take a look at the lengthy interview at UCR.

Right here.

 

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Mutants

This Fernandes ad comes from Guitar Player, August 2001. In those days Robert Fripp and Adrian Belew were back in the saddle with King Crimson, having released The ConstruKction of Light the previous year. Fellow endorser Reeves Gabrels was into his post-Bowie solo career, Ulysses (Della Notte) being his most recent issue.

The text also cites Steve Vai, The Edge, and Steve Lukather as Fernandes Sustainer users.

From the Rooney Archive

Speaking of Earl Slick, Gibson just posted an interview with the legendary guitarist wherein he discusses the “studio” aspect of his career. For example, he compares the recording methods of David Bowie and John Lennon:

It was exactly the same, oddly enough. In those sessions with Lennon, I was the only guy who wasn’t a session player. That’s why John wanted me there. [Producer] Jack Douglas always called me the wild card. I was there as the rock and roll guitar player who was going to put some edge on what the studio guys did.

Read more at Gibson.

Right here.

During his tragically short career, Stevie Ray Vaughan managed to make a wide variety of guest appearances on others’ albums. Guitar World has written up what they opine to be the top five. The list includes SRV’s workouts on recordings by Johnny Copeland, Lonnie Mack, and David Bowie. Regarding his playing on “Cat People (Putting Out Fire)”:

Let’s Dance served as the world’s introduction to Vaughan, who, with Bowie, invented something new by adding Texas-style blues guitar to contemporary, dance-based pop music — raising eyebrows, expectations and bank accounts for all involved. Guitar-wise, the song that truly kicks collective ass is the less-famous “Cat People (Putting Out the Fire).” It’s also got the album’s healthiest serving of SRV; he solos in the middle, adds Albert King-style bends throughout and then solos near the end of the song.

Read the entire listen and listen to the tunes at GW.

Right here.

 

There’s a pretty lofty article on PopMatters which makes a case for a current of  subversive humor, satire, and parody throughout David Bowie’s music. It says things like this:

While communality and solidarity were the tenets of the late ‘60s counter-culture, Bowie was satirizing such ideals as constituting conformity and group-think;

Check that out.

Right here.

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