Tonight’s post is inspired by a Twitter conversation involving Drew from Across the Kitchen Table (I was going to describe it as “the much missed…” but after announcing his retirement from the blogging world back in June, he’s not been able to resist a couple of posts since, so my fingers are crossed for a full-time return) which I barged my way into.
The conversation was about how tonight’s song is at least as good as one of the same artist’s more critically lauded tunes.
I’d go as far as to say it’s probably my favourite song by David Bowie. It’s certainly in the Top 10, if not the Top 5.
But strangely, it’s a song often over-looked, as it’s attached to what is generally considered to be a fairly awful film (I’ve never seen it, so couldn’t possibly comment) and not long before Bowie went off to tit around in Tin Machine.
In my book though, it’s one of is finest moment, swooningly gorgeous from the off, as it comes crashing in with backing “ba-ba-ba-ooh” vocals, it soars and swoops its way through the film noir vibe, glorious crescendos reached as it ebbs and flows, and there’s Bowie’s gumshoe detective crooning impeccably, bolstered by a great sax solo from Don Weller (no relation) and some stirling keys work by sometime Attraction Steve Nieve.
I like it. Quite a lot.
On the day that his death was announced, this was the first tune that came to my mind. It’s just beautiful, from start to oh-too-soon fade: