Friends can become competitors, but competitors can also remain friends. This formula may sound paradoxical, but in the case of the two glam stars David Bowie and Marc Bolan, it is extremely true. On 6 March 1970 the single "The Prettiest Star" was released in England. It is to be the glamorous successor to David Bowie's successful single "Space Oddity", which was released in the autumn of the previous year. Another up-and-coming star can be heard on the guitar. But despite the collaboration of David Bowie and Marc Bolan, the single became a disastrous flop with less than 800 copies sold.
Donny McCaslin has been one of the hottest saxophonists in the USA since contributing to David Bowie's album legacy "★". The 52-year-old Berklee graduate gained important experience with jazz trumpeter Dave Douglas and the Maria Schneider Orchestra. Since his solo album "Casting For Gravity" McCaslin has developed an independent style that draws on fusion, art rock and electronic dance music. He goes one step further with his latest work "Blow.", on which he also picks up influences from alternative rock.
He was the musical head of the band Spiders From Mars, until 1973 the motor of David Bowie's success. And Mick Ronson also made common cause with other rock greats. But he himself remained largely unknown to the general public. The film "Beside Bowie - The Story Of Mick Ronson" shows what the master guitarist, who died in the early nineties, actually achieved. We talked to director and Ronson friend Jon Brewer and Def Leppard singer Joe Elliott, who worked with Ronson.
When heads of government, astronauts, the Archbishop of Canterbury and a Vatican spokesman comment on the death of a rock musician, as happened on 10 January 2016, it is an extraordinary event. In fact, David Bowie, an artist who had blown up norms, who did not accept any artistic or social restrictions, who was irresistibly drawn into the limelight like an incurably ill man to Lourdes or Fatima, died that day. An artist who nourished longings in his texts and fomented them himself, who at times touched on the metaphysical realm and who in his nature, appearance and look always embodied exactly what he was offering in his magical art. An artist, too, on whom it was necessary to work off, since he only rarely fulfilled expectations, only rarely remained on a path taken once, and who never backstabbed the herd, but always hurried ahead of it. The fact that it was him of all people, the complex loner, who was followed by fans in droves, is a phenomenon that is difficult to grasp.
I still don't know what devil my father rode in the summer of 1983. Maybe he noticed how much I liked Bowie's hit "Let's Dance". Maybe he also missed his "Scary Monsters"- and "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars"-LPs, which at the same time became part of my record collection and since then had a strange fascination for me. On the one hand because of the intensity of the music, which had something gloomy and dangerous about it. But also because of Bowie himself, who seemed like a creature from another world. Anyway, my father bought me a ticket for a concert of the "Serious Moonlight"-Tour in June '83, to which he accompanied me (as a 13-year-old at that time).
The fact that David Bowie went back to the studio so quickly after his comeback album "The Next Day" and worked under high pressure on a new work may have something to do with his cancer diagnosis. The great rock icon still had this album in him and wanted to finish it (with regular producer Tony Visconti) under all circumstances. And "★" has become a positive surprise in every respect.
In David Bowie's 25th studio album "★", joy and grief are close together: joy because it appeared on Bowie's 69th birthday, grief because the artist died of cancer only two days later. As with "The Next Day", he had been involved in a great deal of secrecy beforehand: Bowie hasn't been available for interviews for years, and there have been few comments on the recordings from his comrades-in-arms. At the same time, Bowie's strategy also proved his inner greatness, because he didn't make his impending death public and preferred to draw the public's attention to what was most important to him: his music. But what's the point of the Times claiming that Bowie's final work is his "strangest" and "completely crazy", including electropop sounds and jazz sounds? We dare a look behind the scenes.
Bowie's approach to the black star
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eclipsed is a music magazine based in Aschaffenburg and has been on the German market since 2000. It is aimed at friends of sophisticated rock music who want to go on a new acoustic voyage of discovery month after month.
eclipsed deals in detail with the rock greats of the 60s and 70s in the areas of art rock, prog, psychedelic, blues, classic, hard rock and much more as well as with the current scene in these areas.