Category Archives: Music


So I’m here writing my latest book and generally suffering through the frustrations of trying to once again create something new while simultaneously dealing with all the fixes to my home and general tight time to do it all…

…and then I stumble upon this, the 50th Anniversary release -and remastering by Tony Visconti, David Bowie’s long time producer- of the first big David Bowie hit, Space Oddity.

Yeah, haunting is the right word…

The video seems to mix footage from David Bowie’s 50th year anniversary concert (that’s Bowie with the reddish hair) with footage which seems to have been taken during the Let’s Dance years (or thereabouts) in the 1980’s. That would be the more black and white-ish footage with Bowie having the much fuller hairdo.

The new Visconti mix, IMHO, is terrific. The drums in particular sound very crisp. The reverb upon Bowie saying “Liftoff” could be a little much to some, but I didn’t mind.

Terrific stuff.

Makes me all the sadder that we’ll not hear any “new” material from Bowie… other than stuff that’s already in the vaults which hasn’t seen the light of day.

I’ve mentioned it before and, what the heck, let me post it again: One of my favorite buried treasures by Bowie, the original version of Candidate, which until the 1990’s and during the Ryko Disc releases of his previous material, hadn’t seen the light of day.

Originally intended for the Diamond Dogs album, I absolutely love this version of the song!

You can now ignore just about every opinion I have…

I’m three songs into the seemingly universally loathed Lou Reed and Metallica album Lulu…

Lulu (2CD)

…and I kinda like it!

My understanding is that David Bowie loved the album though acknowledged it was ahead of its time.


Look, its an oddball album with some very oddball lyrics (the first lines in the very first song are very off putting and borderline idiotic).

And yet… I’m digging what I’m hearing. I won’t say the album is up there with the great works of Lou Reed (both solo and with The Velvet Underground) or Metallica, yet its interesting, IMHO, in its own weird way.

POSTSCRIPT: Ok, so I’ve made it through the entire album and my earlier comments still apply: I feel this album is far better than the absolute calamity so many -critics and fans alike- thought it was.

On the other hand, it does contain more than a few rough edges and weird/crude/unintentionally(?) funny lyrics which can be off putting to audiences.

Further, I can see why David Bowie liked the album: In many ways it reminds me of Bowie’s 1. Outside. While 1. Outside is a stone cold classic, Lulu is a decent enough stab at avant garde which, at times, slips into silliness.

Still, I repeat what I said before: It’s far from the absolute calamity people felt it was.

Megadeth’s Killing Is My Business… And Business is Good 2018 Remaster

All right, so I’ve dealt with the remastered editions of some VERY big heavy hitting talent in recent days, first David Bowie with his Loving The Alien boxed set, which includes a pretty good re-do of what many consider his career worst album, Never Let Me Down, and more recently the beautifully remastered The Beatles, aka The White Album.  You can read about the Bowie remaster here and The Beatles here.

Remastering albums is certainly not a new thing, and at times it has been met with anger.  In recent years, however, it seems like newer remasters have been better.  Certainly in the case of the Bowie and The Beatles albums, it was for the best.

Megadeth, one of the pioneer thrash/heavy metal groups fronted by one-time Metallica member Dave Mustaine, released their first album in 1985.  Titled Killing Is My Business… And Business Is Good, it was a more than decent first effort with some really fun songs (I loved the very profane remake of These Boots).  The sound, however, was quite muddled and, when I heard Mr. Mustaine was remixing the album back in 2004, I was hopeful that the muddled sounds would be alleviated.

Alas, the end result was not very good.  Worse, the original authors of These Boots were apparently quite offended with Mr. Mustaine’s… uh… reinterpretation and new lyrics of the song and would not allow it to be re-released as it was.  So, in a very silly move, the remixed version of 2004 featured the song with “bleeps” to negate the offending lyrics.

Fast forward to (and unknown to me until yesterday) June of this year and a new re-mix of Killing Is My Business was released.

I have to say, Killing Is My Business is a terrific improvement over the original 1985 release and most certainly much better than Mustaine’s 2004 remix.

Killing Is My Business...And Business Is Good - The Final Kill [Explicit]

If you like that album, getting this remaster is a no-brainer.

As for These Boots… it appears we’ll never again see the release of the original Megadeth version of the song.  However, this time around they wisely nixed the whole “bleeped” version of the song and, instead, remastered the music and had Dave Mustaine simply sing the song with its original lyrics.

Yeah, it isn’t quite as darkly funny as the original version and, yeah, Dave Mustaine’s voice is clearly more worn down than it was on the original album (decades of concerts and singing will certainly do that to you… check out Bruce Springsteen’s voice in some of his earliest albums versus while currently on tour).

So, if you’re into 1980’s era speed/thrash metal, checking out the most recent remix of Killing Is My Business is a no-brainer.

The Beatles, a (right on time!) review

On November 22, 1968 The Beatles released an untitled  double album which, over time, came to be known as “The White Album”.

The album, IMHO, is incredible and, in retrospect, one can view it as something of a line in the sand.  There’s the stuff that came before and, sadly, this album was pointing toward what was to come, ie The Beatles’ eventual breakup.

The album features a mind-bogglingly number of great songs in so many different genres that one can’t help but admire the group’s ability to stretch their boundaries.  There are rock songs, there are ditties.  There are songs that seem to fall into country, there are songs that fall squarely into a avant guard.  There are fragments of songs, there are songs that seem almost like children’s compositions.  There are hard rockers and even what can be called a proto-metal composition.

There’s an incredible amount of music of all different types and what’s the most amazing thing is that when one listens to the album, it feels like there’s a flow to the compositions, a logic that only a band with as much talent as The Beatles could dare to try… and, incredibly and perhaps improbably, succeed.  For the most part, anyway.

There are those who feel there’s a superb single album buried in this double album, and even I have some songs I don’t care that much for. Still, how can you knock something that ambitious and successful?

When I heard Giles Martin, son of the late George Martin who was the original producer of almost all of The Beatles’ albums, was doing to The White Album what he did to Sgt. Pepper’s Lonely Heart’s Club Band, i.e. doing an intricate remastering, I was so there.

What Mr. Martin did with Sgt. Pepper’s was revelatory.  He made an already superb (IMHO!) album sound even better, and managed to make two songs in particular I didn’t care as much for on the album shine like they never did before.

This past weekend I finally got my hands on the “Super Deluxe” edition of The White Album’s re-release.

Starting with the original album itself, I have to once again give Mr. Martin an incredible amount of credit.  The songs sound extraordinary, and he’s managed to make some compositions I didn’t care all that much for suddenly light up.  He’s brought the instruments out and made the voices clearer and… jeeze, its like you’re there in the studio, listening to the lads as they play the material for you.  There is an intimacy and clarity you didn’t realize the album needed to make it even better than it already was (and, if I haven’t made it clear already, I felt the album as it was was pretty damn great to begin with).

And the bonuses… oh my.

First up are the so-called Esher Demos.  After finishing their trip to India, The Beatles got together at George Harrison’s house and essentially created rough demos of the majority of the songs that eventually made their way to The White Album.  Here then you have those demos and they’re wonderful to hear in their embryonic, and sometimes quite close to finalized, form.  You also have some songs that didn’t make the cut -at least not at that point- which are fascinating to hear as well for a total of 27 songs.

Following that you have another FIFTY alternate/early takes of the various songs which eventually made it to The White Album along with a few that did not, including early versions of Hey Jude, Across The Universe, and Let It Be!

Incredibly fun stuff to hear and it again makes you realize that this band, when it came to music, was on a whole ‘nother level when it came to releasing original compositions.

The price for the Super Deluxe edition of The White Album ain’t cheap.  The CD release will set you back about $140 and I can’t even begin to guess how much the vinyl version is.  There is a cheaper CD version (I saw it at Target on sale for around $25) which includes the full album plus the Esher Demos.  It does not include the other bonus material, including all the other takes of the songs plus those I mentioned above.

So if you’re anything at all like me, you either get the whole thing or nothing at all.  If you don’t feel you need the wealth of other demos/alternate takes, then you may be fine getting the smaller package.

Either way, this is a hell of a gift to music lovers and The Beatles lovers in particular.

A very, VERY easy recommendation.


I’ve found some interesting lists online regarding ranking the songs on The White Album from best to worst.  Here’s one list, found on and written by Michael Gallucci, where he offers…

Beatles White Album songs ranked from worst to best

A second ranked list can be found on and was written by Chris DeVille…

Beatles White Album songs ranked from worst to best

I find such lists fascinating, and I do have to offer my 0.02 cents.

Worst song on the album?  It may be Wild Honey Pie for me.  Or perhaps Revolution #9, John Lennon’s trip into the avant guard.  However, listening to these songs now, in this freshly remastered version, has quite literally opened my ears and even these works feel fresh and interesting to me.


George Harrison’s While My Guitar Gently Weeps is terrific, as are Lennon compositions like Dear Prudence and Julia.  Much as I like the single version of Revolution, the slower, bluesier Revolution #1 is quite terrific as well.  Paul McCartney was also on a roll, bringing some great rockers like Birthday, Back in the U.S.S.R. (a hilarious parody of Beach Boys-type “Americana” music), and, especially, Helter Skelter, easily the “hardest” music The Beatles ever made and arguably one of the earliest “heavy metal” tunes.

All of it is damn good stuff!

What do critics think of Loving the Alien…?

At the risk of beating a dead horse…

From, a survey of the reviews for the latest David Bowie Box set, Loving the Alien

Loving the Alien (1983-1988) metacritic reviews

While most professional reviews (and there aren’t terribly many of them so far) are generally positive, I’m always intrigued by the most negative reviews.

It’s not that I’m a sadist -as I wrote, I liked the boxed set and felt the new version of the much maligned Never Let Me Down album was a tremendous improvement- but I am intrigued by those who don’t like something I may like and the reasons why they feel that way.

In that spirit, here we have Stephen Dalton’s review of the boxed set found on

David Bowie – Loving the Alien (1983-1988) album review

Mr. Dalton clearly doesn’t think very highly of Mr. Bowie’s releases during this period of time and his conclusion regarding the new version of Never Let Me Down is quite negative.  Here are his thoughts, from the link above, regarding the “new” version of that album:

So is it really possible to reverse-engineer a ‘lost’ avant-rock album from a lacklustre soft-rock misfire? Arguably. On the positive side, Bowie’s vocals are now generally clearer and more sympathetically framed, especially on the sweetly romantic title track. But adding discordant drones, minor-key shifts and sci-fi trip-hop rumbles to thin material like Day-In Day-Out or Shining Star (Makin’ My Love) is more cosmetic gimmick than inspired transformation. Trying to salvage Bowie’s most derided album is an admirably ambitious experiment, but low-grade source material was always going to be an obstacle. Some turds just cannot be polished.


Look, I totally understand those who look down on this boxed set and, specifically, this new version of Never Let Me Down.

The fact of the matter is that when compared to the previous boxed sets, where Mr. Bowie first made his career starting with his glam rock era and following it up with some truly adventurous work (including the justifiably lauded Berlin trilogy), one can look at this era in his musical career as a step down.

And I’m not going to argue that point: It is!

Mr. Bowie hit the proverbial ball out of the park with Let’s Dance, a slick, radio friendly, and eminently enjoyable collection of wonderful pop songs.  To my mind, that was a terrific album and it moved Mr. Bowie from being a famous but rather “cult” figure into the mainstream and his success was white hot.

The problem came afterwards.

Mr. Bowie clearly lost his way following the success of the album.  Tonight the album that followed Let’s Dance, was what I consider merely adequate.  There were some terrific songs on it, specifically Loving the Alien (which this boxed set used as its name) and the ultra-cool Blue Jean.  I also enjoyed Tonight and Neighborhood Threat.  But after that?  Well… I can’t get into much of the rest.  Perhaps the album’s worst song is Bowie’s remake of the Beach Boys’ God Only Knows.  It was daring, to say the least, to take on of that band’s most beloved works and try to redo it, but Bowie here seemed so out of his element.

Which brings us to Never Let Me Down, again.  I can’t help but feel that Bowie was burning the proverbial candle at both ends at this time.  He was appearing in films and doing soundtrack songs (included on this boxed set are the absolutely terrific songs This is Not America and Absolute Beginners, along with his songs for the movie Labyrinth, which he co-starred in).  This, along with a grueling concert schedule, must have taken their toll and I’ve read (but take it with a grain of salt) that he was exhausted during the making of NLMD.

Could this be why he later stated that he didn’t feel like he had much control over the album?  Did he entrust too much of its creation to others?

One could think so, though I strongly suspect that if the album had been a hit, Mr. Bowie would welcome the adulation.

But, of course, that wasn’t the case.  NLMD was a critical flop.  As the years passed, most people had a sour view of the album and that era for Bowie’s music.

I can totally see why someone would scoff at this boxed set and feel that “fixing” NLMD is the equivalent of “polishing a turd”.

And yet…

My opinion remains.  I didn’t like NLMD upon its original release.  As I wrote in my review of the boxed set, I felt that album was too scattershot, too all-over-the-place.  Having said that, I felt there were good songs to be found here and there.  It wasn’t a complete train wreck but it seemed something was lost between the various song’s creations and the ultimate cut used.

Which, to my mind, has been fixed tremendously with this “new” version of the album.

Will this new NLMD come to be viewed as another landmark Bowie album, one initially scoffed at a la 1. Outside, which was lambasted by professional critics upon its initial release but which now many people consider among his very best later releases?

I don’t know.

But it’s the way things go, isn’t it?  Sometimes things are viewed very negatively when initially released and, over time, people come to view a certain worth to the product.  Or it may never be rehabilitated.

We’ll just have to wait and see.

David Bowie – Loving the Alien

As I’ve posted before, the main reason I was curious to buy the just released Loving The Alien box set by David Bowie was  to listen to the new mix of Never Let Me Down.

Considered by many, including Bowie himself, as his “worst” album, I was very curious following the release of a remixed version of Time Will Crawl a few years back whether the album could be salvaged. My curiosity increased when this boxed set was announced along with the fact that it would feature a complete remix of that much maligned work. While Mr. Bowie sadly passed before the album was remixed (and therefore he personally could not approve of the overall work), when early releases of Zeroes and Bang Bang were available, I found them intriguing and my curiosity piqued.

Now that I’ve heard the whole thing, I have to say I’m incredibly impressed.

I too didn’t care for Never Let Me Down in its original version. It felt like too much was going on at once. It was too busy, too scattershot. Well, the new mix of the album fixes that. The album feels far more cohesive and some songs I really didn’t like, such as ‘87 and Cry, are truly transformed into something great. Listening to this new mix of Never Let Me Down is like finding a “new” great David Bowie album. It’s that good, IMHO.

The rest of the compilation is quite good as well. You have Let’s Dance, the crown jewel of this set, along with Serious Moonlight (a live concert), Tonight (a so-so album with some great highs and some equally low lows), the original Never Let Me Down (which one can use as a comparison to the remix, if you’re not terribly familiar with it), Glass Spider (another live concert), and a bunch of odds and ends and some great singles (This is Not America is a particular standout, IMHO).

If you’re a Bowie fan, very much worth getting!

David Bowie’s Never Let Me Down redux part three

I wrote already about my interest in the new David Bowie Box Set coming out in October and focusing on his mid-late 1980’s output, specifically in the fact that it features a completely redone version of his album Never Let Me Down, which many, including Bowie himself, viewed as his worst album.  (You can read my previous ramblings about that topic here and here)

Slowly, tantalizingly, reworked songs from that album have been released.  You have the inspiration for reworking those songs with the release, a number of years ago, of the song Time Will Crawl, which I thought was incredibly good in its remade version.

Then, after the announcement of the reworked album, we got to hear the reworked version of Zeroes, which I very much liked as well.  Today, we have a third song, Beat of Your Drum.  Here is the reworked version which will appear on the upcoming boxed set:

As a comparison, this is the version which appeared on the album originally…

Ok, so far I’ve been very much impressed in each new remade version of the songs from Never Let Me Down but this time… I dunno.  I like the new version quite a lot but I have to admit: I’m not all that down on the original, so while this new version is interesting I find the difference not quite as startling as that with the previous two songs.

I’m still looking very much forward to the full album, though!

Led Zeppelin Songs ranked…

A while back I found a list which ranked all The Beatles songs in order from worst to best (you can read that list here).  The list had a whopping 213 songs on it, a tribute to the fact that in the seven years they were releasing albums (from 1963’s Please Please Me to 1970’s Let It Be, which was actually recorded before 1969’s Abbey Road), The Beatles released an insane amount of songs -so many of which were of such high quality- that it truly is hard to create a list such as this.

Welp, I stumbled across another list a few days back, this one devoted to ranking all the Led Zeppelin songs.  The group released albums from 1969 (Led Zeppelin) to 1982 (Coda) which means they were “active” and releasing albums for thirteen years versus The Beatles’ seven years.  One could quibble about that time frame as Coda was an “odds and ends” album comprised of stuff left over in the studio from the previous years.  Their last “real” album was 1979’s In Through The Out Door, so take that as you will.

Regardless, though together a longer time they released some 92 songs.  This is not a knock against Led Zeppelin, whose music I REALLY like, only pointing out the incredible industry of The Beatles.

Anyway, without further ado and written by Michael Gallucci and presented in

All 92 Led Zeppelin songs ranked worst to best

Unlike The Beatles, I’m not quite as familiar with Led Zeppelin’s tunes to the point where seeing a title instantly makes me know the song.  Some had titles that don’t necessarily follow the song while others are only too obvious.

With this ranking, I have to admit I was scratching my head at the placement of some of the selections, perhaps moreso than with The Beatles list.  But as with The Beatles list, I’m going to add my own .02 cents and present what I think are the 10 best Led Zeppelin songs, in no particular order…

Stairway to Heaven.  What more need be said about this song?  It’s transcendent and classic.

Immigrant Song.  Another one of those songs whose driving music and wonderful singing by Robert Plant propels it into the stratosphere.

Communication Breakdown.  Love, love, love this hard crunching, almost metal song, found on their very first album.

Hey Hey What Can I Do.  Never formally released on an album, this “B” side of Immigrant Song may well be one of Led Zeppelin’s all time best songs ever.  A real curiosity that it was never put into a formal album!

Kashmir.  Another one of those instantly identifiable Led Zeppelin songs.  Some may complain it goes on too long, but I feel it goes on just long enough.  Chilling.

Heartbreaker/Living Loving Maid (She’s Just a Woman).  Yeah, I know, they’re two songs actually mashed up together but I’ve always viewed them as intertwined and, therefore, one work.

Whole Lotta Love.  Another of those songs that is intricately tied to Led Zeppelin.  Great tune.

Black Dog.  Yet another song that is soooo Led Zeppelin.  Opening song on their famous fourth album.

What Is And What Should Never Be.  From their second album and featuring yet another incredible Jimmy Page riff.

Ramble On.  Led Zeppelin were very much into J. R. R. Tolkein’s Lord of the Rings Trilogy/The Hobbit.  Here’s a song that most certainly makes allusions to it.

More music…

…though I’m going to avoid David Bowie!

First up, as I’ve been reviewing my latest Corrosive Knights novel (the concluding Book #7!), I’ve been listening to some mood music.

Nothing better than John Carpenter movie scores…  Among my all time favorites are these two, from Escape From New York and Assault on Precinct 13:

There is something so gripping about this music and so appropriate to the movies they come from.  This is something that makes John Carpenter’s movies (many of them) so unique: The director is also the writer (or co-writer) and also created some of the music!

Before I go, and apropos of nothing at all, the Talking Head’s music video to their song Road To Nowhere.  While I’m not a big fan of the video (it does, IMHO, get pretty silly), the lyrics and message behind the song is incredibly touching and sobering…

Here are the full lyrics to the song:

Well we know where we’re going
But we don’t know where we’ve been
And we know what we’re knowing
But we can’t say what we’ve seen
And we’re not little children
And we know what we want
And the future is certain
Give us time to work it out
We’re on a road to nowhere
Come on inside
Taking that ride to nowhere
We’ll take that ride
I’m feeling okay this morning
And you know
We’re on the road to paradise
Here we go, here we go
We’re on a ride to nowhere
Come on inside
Taking that ride to nowhere
We’ll take that ride
Maybe you wonder where you are
I don’t care
Here is where time is on our side
Take you there, take you there
We’re on a road to nowhere
We’re on a road to nowhere
We’re on a road to nowhere
There’s a city in my mind
Come along and take that ride
And it’s alright, baby, it’s all right
And it’s very far away
But it’s growing day by day and it’s all right
Baby, it’s all right
Would you like to come along
You can help me sing the song
And it’s all right, baby, it’s all right
They can tell you what to do
But they’ll make a fool of you
And it’s all right, baby, it’s all right
There’s a city in my mind
Come along and take that ride
And it’s alright, baby, it’s all right
And it’s very far away
But it’s growing day by day and it’s all right
Baby, it’s all right, yeah
Would you like to come along
You can help me sing the song
And it’s all right, baby, it’s all right
They can tell you what to do
But they’ll make a fool of you and it’s all right
Baby, it’s all right
We’re on a road to nowhere
We’re on a road to nowhere
We’re on a road to nowhere
We’re on a road to nowhere


As with everyone else, I imagine, I experience days that are sunny and bright.  There are days that are frustrating/annoying.  There are days that are rainy and sad.  Sometimes, you have days which are a combination of all of the above.

To me this song encapsulates those emotions and life in general.  Time flows and ultimately the end will come to all of us.  In two hundred years, will anyone remember you or I and the gamut of emotions we experience in our lifetimes and, most importantly, will they matter all that much?

They probably won’t, so make the best of your day and, in turn, life.  This is not a dry run and this is not a rehearsal.  This is the real deal.

You need to make the most of the time you have while you can.

David Bowie’s Never Let Me Down remake, redux redux

Ok, third time I’m (over) dwelling on this topic that likely few care about outside of myself, but I stumbled upon this interesting article by Kory Grow and Andy Greene on concerning…

How David Bowie’s biggest “disappointment” became a posthumous, reworked album

To those (1 or two out there, at least?!) curious, the article offers a history of Never Let Me Down, David Bowie’s 1987 album which he, and many fans out there, feel was his “worst” album, yet one that he also felt could be reworked/saved.  This was done with the album, albeit posthumously, and the reworked album, along with a remastered version of the original, will be released in October along with plenty of other stuff in David Bowie’s mid-1980’s Loving The Alien box-set.

What I found most fascinating about the article is they go into what exactly was done to “rework” the album, essentially stripping down everything until all they had was Bowie’s singing and then adding things to it to create these new versions of the songs.

Equally fascinating is the fact that, inevitably, there would be those who are not happy with the fact that the album is as badmouthed as it is and, further, that it “needed” any fixing.

And in this case that individual would be… multi-instrumentalist Erdal Kızılçay, who in the article offers this nugget, found in the above article:

“(Never Let Me Down, the original release, is) like 80 percent me.  I’m playing bass. I’m singing background vocals. I’m playing guitar. I’m playing acoustic guitar, keyboards, viola, trombone, trumpet, everything. And I had to arrange them and put some harmonies and (David Bowie) loved it. He really loved it. He was so proud of that album. That’s why he called me his ‘Invincible Turk.’ He praised it until the minute the reviews came in. Then he said, ‘It wasn’t me. It was the other people on the record.’”


I’ve noted before my love for David Bowie’s albums and further the fact that I would consider him my all time favorite musician… but as a person, I’ve read bits and pieces here and there about him which paints a picture of David Bowie -the person- as this: An almost otherworldly talented musician but something of a cutthroat when it came to relationships and projects.

Niles Rodgers, who was called in by David Bowie to produce Let’s Dance, polished the work and helped create what was David Bowie’s biggest selling album which launched him into what was his most successful era.  Yet when it came time to produce the album’s follow up, I recall an interview (hope my memory isn’t faulty!) with Mr. Rodgers where he said he was willing and eager to get back into the studio with Mr. Bowie on his next album… but Bowie snubbed him and never called.  He felt he was essentially dumped despite working so well with him.

Similarly, David Bowie famously dumped the “Spiders of Mars,” the band he had his first big hits with, and retired the “Ziggy Stardust” character while in a concert and to the shock of not only his fans but most of his band mates.  This was their bread and butter and he didn’t feel the need to inform several of his band mates this would be it until announcing it for all in concert!

Further, when he grew bored with a style of music and/or it didn’t succeed as well as he hoped (and the above quote certainly hints to that), he was quick to dump it and move on to other things.  This served him well at times, when he transitioned from the Glam Rock era to Soul to the “Berlin” trilogy but, again, it often involved cutting people he worked with -and who were making money/earning a living doing these projects- out.

He famously worked with Iggy Pop for a long time in the mid to later 1970’s, producing albums for him and, later on, doing cover songs of several of his (and Bowie) compositions, the most famous of which was China Girl.  To be clear, he did this for the nicest of reasons: To help Iggy Pop get some residuals for his works.

And yet I recall an interview given by Iggy Pop a few years ago (and well before Mr. Bowie’s passing) where he was asked about his current relationship with David Bowie and he noted there essentially was none: that they hadn’t spoken in a number of years.  I got the impression (again, if my memory isn’t faded/wrong) that Iggy Pop felt like Bowie dropped him and that was that.

The album 1. Outside, my favorite Bowie album from the later part of his career, was intended to be the first of at least two, perhaps three albums dealing with the turn of the Century.  While the album has come to be looked upon as one of Bowie’s best by some such as me, the fact is it didn’t do too well when it was originally released, both critically and commercially, and Bowie dropped the project and any possible future albums involving this subject.  For his next album, he moved right along to the electronica heavy Earthling (also quite a great album).  1. Outside was in the rear view mirror.

What does this all mean?

In the end, I suppose it is a source of curiosity if little else.

Erdal Kızılçay, in that same article, feels the remake of Time Will Crawl is awful -I don’t share that opinion- and I strongly suspect he’ll not like the remake album at all.  He’s understandably proud of the work he did on the album even if many don’t like it all that much.  Further, he states that if he doesn’t receive the proper credit for his work, even on the remade version of the album, he intends to sue.

Clearly, the man is angry about the whole thing and who am I to tell him he shouldn’t be.  I wasn’t there during the recordings and I take his words at face value.

Still, it is a fascinating look behind the curtain and, if you’re as interested in these type of things as I am, you may want to give the article a read.