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Space Oddity (album)
From Wikipedia, the free encyclopedia
| Space Oddity | |||||
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| Studio album by David Bowie | |||||
| Released | 4 November 1969 | ||||
| Recorded | Trident Studios, London June-September 1969 | ||||
| Genre | Folk rock, Prog rock | ||||
| Length | 45:13 | ||||
| Label | Philips (UK) Mercury (U.S.) Rykodisc Reissue January 30, 1990 |
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| Producer | Tony Visconti Gus Dudgeon (on "Space Oddity") |
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| Professional reviews | |||||
| David Bowie chronology | |||||
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Space Oddity is a 1969 album by rock musician David Bowie. Originally released by Philips in the UK as David Bowie and by Mercury in the U.S. as Man of Words/Man of Music, it was reissued by RCA Records in 1972 under the title Space Oddity, the name by which it is still commonly known. Regarding its mix of folk, balladry and prog rock, NME editors Roy Carr and Charles Shaar Murray have said, "Some of it belonged in '67 and some of it in '72, but in 1969 it all seemed vastly incongruous. Basically, David Bowie can be viewed in retrospect as all that Bowie had been and a little of what he would become, all jumbled up and fighting for control..."[1]
Held to be "the first Bowie album proper",[2] and his first deemed worthy by record companies of regular reissue, Space Oddity featured a notable list of collaborators, including session players Herbie Flowers, Tim Renwick, Terry Cox, and Rick Wakeman, as well as cellist Paul Buckmaster, multi-instrumentalist and producer Tony Visconti, and Moody Blues bassist John Lodge. Before recording for the album commenced, "Space Oddity" had been selected as the lead single based on an earlier demo.[3] Tony Visconti saw it as a "novelty record" and passed the production responsibility on to Gus Dudgeon.[2] Visconti thus produced all the songs on the album bar what would become, from its 1972 reissue onwards, the title track.
Still considered one of Bowie's best-known songs, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the composer's Stylophone, a pocket electronic organ. The title and subject matter were inspired by Stanley Kubrick’s 2001: A Space Odyssey and introduced the character of Major Tom. Some commentators have also seen the song as a metaphor for heroin use, citing the opening countdown as analogous to the drug's passage down the needle prior to the euphoric 'hit', and noting Bowie's admission of a "silly flirtation with smack" in 1968.[4] His 1980 hit "Ashes to Ashes" declared "We know Major Tom's a junkie".
"Unwashed and Somewhat Slightly Dazed" reflected a strong Bob Dylan influence,[5] with its harmonica, edgy guitar sound and snarling vocal. "Letter to Hermione" was a farewell ballad to Bowie's former girlfriend, Hermione Farthingale, who was also the object of "An Occasional Dream",[1] a gentle folk tune reminiscent of the singer's 1967 debut album. "God Knows I'm Good", Bowie's observational tale of a shoplifter's plight, also recalled his earlier style.[1]
"Cygnet Committee" has been called Bowie’s "first true masterpiece".[6] Commonly regarded as the album track most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him".[1] Bowie himself described it at the time as a put down of hippies who seemed ready to follow any charismatic leader.[6] Another track cited as foreshadowing themes to which Bowie would return in 1970s, in this case the fracturing of personality, was "Janine", which featured the words "But if you took an axe to me, you’d kill another man not me at all".[2]
The Buddhism-influenced "Wild Eyed Boy From Freecloud" was presented in a heavily-expanded form compared to the original guitar-and-cello version on the B-side of the "Space Oddity" single; the album cut featured a 50-piece orchestra and was also notable for Mick Ronson's debut on a Bowie record, playing uncredited guitar and handclaps midway through the song.[2] "Memory of a Free Festival" was Bowie's reminiscence of an arts festival he had organised in August 1969. Its drawn-out fade/chorus ("The Sun Machine is coming down / And we're gonna have a party") was compared to The Beatles' "Hey Jude";[7] the song has also been interpreted as a derisive comment on the counterculture it was ostensibly celebrating.[8] In 1970 Bowie cut the tune in half for the A- and B-sides of a more rock-orientated version featuring the band that would accompany him on The Man Who Sold the World later that year: Mick Ronson, Tony Visconti and Mick Woodmansey - an embryonic form of Ziggy Stardust's Spiders From Mars.
Although the opening song had given Bowie a #5 hit in the UK earlier in the year, the remainder of the material bore little resemblance to it and the album was a commercial failure on its initial release, despite some decent reviews.[7] However the November 1972 reissue, released in the wake of Bowie's breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars and featuring a contemporary Ziggy photo on the cover, made #17 in the UK charts and #16 in the United States.
Contents |
All songs written by David Bowie.
- "Space Oddity" – 5:15
- "Unwashed and Somewhat Slightly Dazed" – 6:55
- "(Don't Sit Down)" – 0:39
- "Letter to Hermione" – 2:28
- "Cygnet Committee" – 9:33
- "Janine" – 3:18
- "An Occasional Dream" – 2:51
- "Wild Eyed Boy From Freecloud" – 4:45
- "God Knows I'm Good" – 3:13
- "Memory of a Free Festival" – 7:05
"(Don't Sit Down)" was deleted from the album when it was rereleased in 1972 as Space Oddity.
Space Oddity was first released on CD by RCA in 1984. In keeping with the 1972 RCA LP release, the track "Don't Sit Down" remained missing. The German (for the European market) and Japanese (for the United States market) masters were sourced from different tapes and are not identical for each region.
In 1990, the album was rereleased by Rykodisc with an expanded track listing including a restored "Don't Sit Down" as well as "Conversation Piece" and the two-part re-recording of "Memory of a Free Festival" that had been released as a single in 1970.
- "Conversation Piece" (1970 B-side of "The Prettiest Star") – 3:05
- "Memory of a Free Festival Part 1" (1970 single version A-side) – 3:59
- "Memory of a Free Festival Part 2" (1970 single version B-side) – 3:31
The album was reissued again in 1999 by EMI, without bonus tracks but with 24-bit digitally remastered sound and retaining the original "Don't Sit Down". The Japanese mini LP replicates the cover of the original Philips LP.
- David Bowie – vocals, 12-string guitar, Stylophone, lalimba, Rosedale electric chord organ
- Mick Wayne – guitar
- Tim Renwick – guitar, flute, recorder
- Keith Christmas – acoustic guitar
- John Lodge – bass
- Tony Visconti – bass, flute, recorder
- Herbie Flowers – bass
- John Cambridge – drums
- Terry Cox – drums
- Rick Wakeman – Mellotron, electric harpsichord
- Paul Buckmaster – cello
- Benny Marshall and Friends – harmonica
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Album
| Year | Chart | Position |
|---|---|---|
| 1972 | UK Albums chart | 17 |
| 1973 | Billboard Pop Albums | 16 |
Single
| Year | Single | Chart | Position |
|---|---|---|---|
| 1969 | "Space Oddity" | UK Singles Chart | 5 |
| 1973 | "Space Oddity" | Billboard Pop Singles | 15 |
| 1975 | "Space Oddity" | UK Singles Chart | 1 |
- ^ a b c d Roy Carr & Charles Shaar Murray (1981). Bowie: An Illustrated Record: pp.28-29
- ^ a b c d David Buckley (1999). Strange Fascination - David Bowie: The Definitive Story: pp.36-79
- ^ Nicholas Pegg (2000). The Complete David Bowie: p.257
- ^ Cite error 8; No text given.
- ^ Nicholas Pegg (2000). Ibid: p.227
- ^ a b Nicholas Pegg (2000). Ibid: p.57
- ^ a b Christopher Sandford (1996, 1997). Loving the Alien: p.60
- ^ Nicholas Pegg (2000). Op Cit: pp.141-2