David Bowie - "Metrobolist (Nine Songs By David Bowie)" Parlophone, 2020

 

In our reality, David Bowie is Elvis Presley. Not only do they share the same birthday and both recorded songs called "Black Star," but also in death, their music is released and looked as new. Tony Visconti, a significant figure in Bowie's career and music, has done a series of classic Bowie work remixes. One may think this is nothing but exploitation or a grasp to make more money in the memory of David Bowie. The truth is, Visconti has done magnificent work as a remixer as well as the original producer of these recordings. It's an artist (as producer) going back to his canvas to clean or refresh the imagery on one level. "Metrobolist" (Nine Songs by David Bowie)" is such a work. Most of us fans and consumers know this album as "The Man Who Sold The World," but it seems that wasn't the original title that Bowie given this record. At the last moment, the label changed titles without Bowie's knowledge at the time. 

"TMWSTW" has always had a muddy sound that made the songs heavy and mono-orientated sounds. It's like someone taking a shovel of mud and throwing it in your face. My first reaction to the album in 1972 was that this is a hard rock record compared to "Hunky Dory," his next album at that time. It's obvious to a listener in the early 70s can see Bowie worked from a broad landscape of different worlds sound-wise. "TMWSTW" is a great album and will always be an essential recording from a legendary artist. Including the contributions from Mick Ronson and Visconti knew how to take Bowie to the next level. "Metrobolist" is a mirror reflection of that album but cleaned up and allowing more textures to be added for the supreme listening experience. 

Nuances show up, more than 'ah-ha' moments while listening to "Metrobolist." The vocals have a touch of more echo. Still, the drums' presence mixed to another volume is especially lovely, and hearing the layered guitars from Ronson and the acoustic guitar work from who I think is Bowie. The Moog is also clearly heard in these new mixes. When you hear "Metrobolist," I hear or more aware of the arrangements. It sounds like a work from a band (Visconti, Bowie, Ronson, drummer Mick Woodmansey, and Ralf Mace, who is credited for the Moog playing and Mick Ronson) than a solo artist. 

"The Supermen" is incredible here, with the galloping drums by Woodmansey. If you're a Bowie fan, this is a must-hear or buy. Beyond that, both albums are superb, and now both in print. The world is a better place with "The Man Who Sold The World" as well "Metrobolist." 

Annette Peacock - "I'm The One" Vinyl, LP, Album, Reissue, Remastered, 2016/1972 (Light in the Attic)

I I have heard of Annette Peacock's name through the ECM Jazz world as well as with the David Bowie world.  The first time I heard Peacock's music is through Mick Ronson's two solo albums where he recorded her "I'm The One," "Seven Days" (as a bonus cut on a Japanese issued CD), and to my surprise Peacock's arrangement of Elvis' "Love Me Tender."  I didn't realize that until I heard "I'm The One" album for the first time a few days ago.   In many ways, the missing link between Bowie and Mick Ronson, and also long-term keyboard player Mike Garson is on this album as well.  Perhaps he was the bridge between her and Bowie/Ronson.

One hear traces of future Bowie music in her work.  Specifically "Young Americans" era Bowie, but also even on his later work from the end of the century "Hours" he borrows a section from "I'm The One."  Peacock's album is pretty amazing, due to the mixture of her version of soul, experimentation with the Moog, and singing that is borderline Yoko Ono range.   Her husband Paul Bley and others add a jazzy quality that redefines the border of the music categories that are on this album.  Her version of "Love Me Tender" is a minimal take of the song, and again, Ronson basically borrowed his version on her vision of the song. 

To my ears, this is very much the sound of New York City in the 1970s, where the song format is stretched into other possibilities, and it still sounds fresh with its mixture of Sly Stone funk, and the sound of the Moog coming in and out of the mix.  A remarkable album. 

Sparks - "Big Beat" CD, Album, 1994/1976 (Island Masters)

A really good album that could have been great, if say, someone like Mick Ronson produced "Big Beat."   It's an unusual (well, they all are in a sense) Sparks album because it's very 'rawk' with a great pinch of glam in its mixture.   The driving force of the sound is Russell's vocals, the drums, and snarly guitar.  The album, recorded in 1976, has one eye looking at that time, the current CBGB's 'punk' aesthetic, and yet, still keeping the songwriting to that perfect pitch, which is consistently brilliant and unique. 

"Big Beat" as mentioned, I think Mick Ronson was planning to take over the production or at the very least be part of the band at the time.  Instead, the album is produced by Rupert Holmes with assistance from Jeffrey Lesser.  If it was another Sparks project, I could see Holmes being involved, because of his work, although Holmes has strong middle-of-the-road songs, lyrically there is something else going on in his world.  Holmes reminds me of 10cc, in that the humor can go over a lot of listeners' heads and ears, due to the pop perfection of the production/sound.   What doesn't fit with the Holmes aesthetic, is that this album is very much of a rock album, with the genius songwriting/lyrics of Ron Mael.    Ronson, in theory, can give the songs on this album a great meeting ground between glam and rock 'n roll.   Holmes I think is more comfortable in the AM radio world of easy pop. 

Beyond the weak production, this is a wonderful collection of songs, that are satirical, witty, and comes off to me as a Voltaire/Johnathan Swift sensibility in political/social humor.   One can be offended by some of the songs here, for instance, "Throw Her Away (And Get A New One)," but again it's a work of satire, and commenting on a landscape that's pretty disgusting.  On this CD release, there are two fantastic bonus cuts:  "Tearing the Place Apart" and "Gone With The Wind." It's worth to find this specific CD for those two songs.   

Ian Hunter - "Ian Hunter" Vinyl, LP, Album, 1975 (CBS)

The great team that should have done more music:  Ian Hunter with Mick Ronson.  On the other hand, this is my favorite Mott the Hoople without the Hoople.  I think "Ian Hunter" is Ian Hunter's best album.   The first side of the album is like a mini-opera.  I don't believe there is a narrative here, but the way the songs flow on side one is remarkable. "Once Bitten, Twice Shy" is just classic almost minimal glam rock that goes for the throat.  Mick Ronson's arrangements are never show-off practices but always serves the song.  That's the beauty and talent of Ronson.  His work with David Bowie is very known, but whenever he adds his presence on other recordings, for instance, Lou Reed's "Transformer," it is always fantastic, and he doesn't upstage the star.   In other words, the perfect Captain to the General (Ian Hunter, Bowie, Lou Reed, etc.look at the song in an objective manner).

Ian Hunter is a great meat and potato songwriter.  There is nothing fancy, but what makes him interesting is that he rocks hard, but has a strong pop mentality.  "I Get So Excited" is very much the framework of a classic Ian song.  The chorus is almost ABBA like, but within a rock n' roll frame.  Ronson, I suspect looks at the material like a surgeon or architect.  He knows how to get the parts to work together.  Ronson can write good songs, but his strength is to objectively look at the song.   

Side two of the album is not as dynamic as the first - and it's interesting that on the back cover, they list the sides as Part one and Part two.  Not side one or side two.  And the album feels that way in a sense.  Very much a work that fits into the medium of the vinyl record.  Side one ends with "Boy" which is over 8 minutes long, and it's a tour de force for Hunter's writing (with Mick), but also Ronson's brilliant orchestration.   A song one can presume is about Bowie, but...  

Mick Ronson - "Slaugher On 10th Avenue" Vinyl, LP, Album, 1974 (RCA)

I think it's impossible not to love Mick Ronson.  He was the main Spider in Bowie's Ziggy.  His arrangements and of course, guitar playing,  is perfect.  What he did was not original, nor visionary, but I think he's the type of artist who can look at a diagram or music score and know how to make it work or becoming a brilliant piece of music.   I think of Bowie as using the Duke Ellington method in making sure he surrounds himself with the cream of the best.   Ronson as the second lead or music leader is exceptional.  And it is always interesting when such artists do a solo album.

"Slaughter on 10th Avenue is by no means a perfect album, but it's highly enjoyable, but lacks the visionary scent to make it really an essential piece of music.  Saying that "After Dark" is one of the great glam songs of that era.  A brilliant piece of arrangement and delivery.  "Love Me Tender" is an Elvis song that for me, didn't work for Elvis (besides being an iconic hit!) nor does it for Ronson, on this opening cut.   A very weak way of starting a really good album.

Still, when playing this album from beginning to end, it seems almost like a resume at work.  The arrangements of standards such as the title cut, and his take on Annette Peacock's "I'm the One," (which I think Ronson is on the original recording?) shows off his sensitivity in dealing with covers.  "Love Me Tender" doesn't work,  because he didn't do a radical remake of it, just sort of kept it as it is.  Which is fine, but again, and lots of people would disagree with me, but it's not that great of a song.   

Ronson was stretching out his boundaries, by including a variety of music on this debut album.  He was a man of great taste (most cases) and a great loss when he passed away in the 1990s.   His work on the first Ian Hunter album is perfect.   As a solo artist, I think overall he is weak.  But when he backs someone up like Hunter or Bowie, of course, it's a magnificent sound.  And that goes for the same on his work with Morrissey.