David Bowie - "Young Americans" (1975)

I promised you I would get back to going through David Bowie's discography! Way back during the pandemic I was listening through David Bowie's records and reviewing them on here. I managed to get up to Diamond Dogs before the opening up of the real world again got on top of me. I have listened all the way up to Scary Monsters (And Super Creeps) but never found the time to write about them. Diamond Dogs didn't really land with me and truth be told I don't think I've listened to it since that review. It was a bit of a mess of a record that had way too many half formed and thinly sketched ideas. One of those ideas was the incorporation of soul and funk music into his sound. These genres were nothing more than set dressing on Diamond Dogs, but this time around Bowie has dived fully into them; basically making a pastiche of the genre that he himself dubbed as 'plastic soul'.

I feel like Bowie's slightly dismissive terminology when referring to the record and the complete genre switch-up has led to the album getting a bit of a bad wrap from fans, often getting dismissed as neither a 'proper soul record' or an authentic Bowie piece of work. I think this sentiment is rather misguided, as while it isn't the very best of Bowie's discography, it is actually pretty good and personally I think it's a way more coherent and impressive record than Diamond Dogs.

The record is bookended by its two biggest songs, the title track and Fame. Young Americans is a loose and groovy soul jam and a great showcase of what the album is about. Bowie's earnest croon builds into an anthemic refrain over a steady drum beat and expressive saxophone with excellent backing vocals that give a real sense of gravitas to the song. Fame on the other hand is a swaggering funk tune that oozes confidence and coolness. The song is about the consequences of fame (a topic Bowie explored a bit in Aladdin Sane), and has a sinister undercurrent to it that in retrospect feels like a taste of what to come on Station to Station and the Thin White Duke persona.

The six songs that sit inbetween these tracks continue the very sensual and relaxed vibe of the two singles, making a bright and summery experience. The whole album just feels very loved-up and warm. Win slows it down with woozy guitar licks and smooth crooning from Bowie. It is a very gentle and tasteful moment on the record. Fascination is another meaty funk tune and has a real swagger to the call and response pattern between Bowie and the backing vocals. The Sax once again has a field day on this song. Right rounds out the first half with a wild mashup of the two genres, starting out very slow and emotive, before being overtaking by the funk groovy and vocals more powerful. Bowie sort of takes a backseat on the song, handing over the reigns to the backing vocalists

The back end isn't quite as engaging as the first half, and similarly to his Rolling Stones cover on Aladdin Sane, Bowie's rendition of The Beatle's Across the Universe is a bit of a clunker. He kind of butchers it if I'm being honest. All of the whimsy and wonder of the original is just stripped out, and replaced with Bowie just completely over egging the vocals. Somebody up There Likes Me is the longest song on the record and the one that feels the most like a pastiche and by the time Can You Hear Me rolls around as the penultimate song it does feel like the album has shown all its cards and run out of ideas. I'm glad that Fame kicks the album into gear again so that it ends on a strong and memorable footing.

Young Americans is a good album and a pretty successful foray into the worlds of soul and funk for Bowie. I think it is also really important in his development as an artist, with what would immediately follow with Station to Station and also down the line in the genres' incorporation into his biggest commercial hit, Let's Dance. It really doesn't deserve the reputation it gets from fans.

Top Tracks: Young Americans, Win, Fascination, Right, Fame

7/10

Pink Floyd - "Wish You Were Here" (1975)

My only real gripe with Pink Floyd's The Dark Side Of The Moon (well not really a gripe, more of a personal preference) was it's generally more separated and impersonal approach to the lyrics and themes. This is one of the biggest draws of it's follow-up, that it is famously very personal and emotional (at least in part). A big part of the record is essentially an incredibly potent and emotional ode to former frontman Syd Barret and his mental decline following his overuse of LSD. Syd even made and unannounced visit the band while they were recording the album, which was the first time the band had seen him in years, and the last they would see him again. The band played him a mix of Shine On You Crazy Diamond, and he was unable to make the connection between the song and himself. It's such a heart-breaking story and only adds to the potency of the recording and atmosphere of the record.

Shine On is a 25 minute, 9 part journey which is split into 2 tracks which bookend the album. It slowly builds up in atmosphere through part one until it releases the first instance of the iconic, harrowing 4 note guitar motif (dubbed Syd's theme). It is something so simple, yet so unbelievably stark and isolating. The song becomes warmer, and more of celebration of Syd from part 3 onwards; with lusher, more rich instrumentation and many, many solos. Aside from part 2 - parts 4, 5 and 7 are the real highlights of this opus. The title track also deals in the same themes of nostalgia and loss, and once again is clearly is about and directed to Syd. The track is most likely the band's most popular, and it's not hard to see why. It's so straightforward and direct, it's not a prog song at all. The twangy acoustic guitar combine with some really affective lyrics to create something that is equally relatable, deeply moving, and anthemically sing-along. The line "Did you exchange a walk on role in the war / For a lead role in a cage?" is one that hits for me in particular.

The other two tracks, feel like more of a continuation of the socio-political themes of Dark Side, but with more of a slant towards the music industry in particular. This gives a real split in the record, half being deeply personal, half being more broader and thematic. These tracks also come across more bitter than those on Dark Side (particularly Welcome to the Machine), which creates a more sour atmosphere which doesn't mix well with the very human and sensitive feelings of the SOYCD and WYWH. It might reflect Roger Walter's increasing control over the group's direction at this point in time (especially since Welcome to the Machine sounds very much like what I have heard from the Wall - which is Walter's baby). Not that these tracks are anywhere close to bad; I do genuinely really like Have a Cigar for its bouncy groove and sneering representation of clueless record execs following the money. They just don't mesh well with the other two tracks, and they just feel a bit indulgent compared to the songs that tackled these themes in The Dark Side of the Moon.

Indulgence is really what sets this record back compared to TDSOTM in my eyes. As much as the best parts of Shine On You Crazy Diamond are phenomenal, the song is 25 minutes long and does end on it's weakest point. Part 7 leaves the song in such a weightless and ethereal place that parts 8 and 9 feel completely unnecessary. That being said, the other 20 minutes of Shine On You Crazy Diamond and Wish You Were Here are some of the most beautifully moving (and Best) music I have ever heard.

Top Tracks: Shine On You Crazy Diamond (parts 1-5), Have a Cigar, Wish You Were Here, Shine On You Crazy Diamond (parts 6-9)

8/10