00
עדכונים

מנוי במייל

קבלת עדכונים על רשומות חדשות ישירות לתיבת האמייל
יש להזין אימייל תקין על מנת להרשם לעדכונים
ברגעים אלו נשלח אליך אימייל לאישור/ביטול ההרשמה
*שים/י לב, מרגע עשית מנוי, כותב/ת הבלוג יוכל לראות את כתובת האמייל שלך ברשימת העוקבים.
X

פ.י.מ.פ.

Analyzing Bowie: Dancing With the Big Boys

<-previous

One of the many deficiencies of the Tonight album is its sense of being over-produced, to the point where all the spontaneity is drained out of the music. The closing track of the album finally brings a little bit of anarchy back, not enough to redeem it but at least enough to hint that Bowie's spirit is still alive under the big corporate schmaltz. He accepted his role as a big star doing the bidding of the big boys in society. But at least he can dance in his chains.

The way the track came about is very reminiscent of another album closer: 'Fame', the track that closes Young Americans. Once again, Carlos Alomar is getting writing credits for the basic musical idea, and once again the lyrics were developed by a shout-out between Bowie and another rock star. In 'Fame', he and John Lennon were railing against the trappings of fame, ad-libbing angry lines out of their subconscious. Here he is doing the same thing with Iggy Pop, hollering against pretty much the same thing. But now, in the nineteen-eighties, rock was so huge that rock stars were part of the international jet set of world leaders and moguls, and fame became a much bigger game. Bowie and Iggy felt like they were dancing with the big boys, those same powerful people they once rebelled against. The lyrics don't make much sense, except in conveying the sense that there's something wrong about society but they can't do much about it. Rock has been incorporated, and all they can do about it is to scream like babies.

Something's going on in society
(Dancing with the big boys)
You chew your fingers and stare at the floor
(Dancing with the big boys)
One wrong word and you're out of sync
Talking 'bout a hands on policy
(Big boys)

Death to the trees
(Dancing with the big boys)
They weren't bad, they weren't brave
Nothing is embarrassing
(Dancing with the big boys)

There are too many people, too much belief 
(Dancing with the big boys)
Where there's trouble there's poetry
(Dancing with the big boys)
Your family is a football team
(Big boys)

This dot marks your location
(Dancing with the big boys)
Loneliness in a free society
(Dancing with the big boys)
(Big boys)

This can be embarrassing
(Big boys)
Dancing with the big boys
(Dancing with the big boys)

With rock in such a sorry state, artists were beginning to look for other forms of expression to present an alternative to the status quo. Industrial music came out of new wave, using machine noise effects to create music that at first was very avant-Garde but by the early eighties turned funkier and became electronic dance music. When Bowie and producer Hugh Padgham proceeded to lace all the shouted lines together into one musical fabric, they used some of the industrial sound effects and we hear echoes of bands like Art of Noise and Yello. But 1984 Bowie could not go all the way into these territories, and the fabric contains more conventional sounds to make it mainstream-friendly. It would take years before he would finally figure out the way to break out.

Like the rest of the Tonight album, the execution of 'Dancing With the Big Boys' leaves a lot to be desired. But in this case some of this desire was actually fulfilled. DJ and producer Arthur Baker, who in the mid-eighties became famous for his dance remixes of rock records, was commissioned to do his thing with this track for a 12-inch single and duly accentuated its industrial sides. His remix gives it more life, and is globally considered as superior.

<-next

הוספת תגובה

נשארו 150 תוים
נשארו 1500 תוים

11 תגובות

© כל הזכויות לתוכן המופיע בדף זה שייכות ל אלדינסיין אלא אם צויין אחרת