Helpful caption by CNN during Bowie interview in 2002.
|—||Cliff Richard on David Bowie, 1973.|
Last Year at Marienbad (1961)
"The film achieves its hypnotic force through repeated lines and situations, a time scheme that folds back on itself, and ominous, black-and-white wide-screen images that evoke both surrealist paintings (human figures cast long shadows, but not the decorative shrubbery that frames them) and the society dramas of silent film. (Ms. Seyrig is costumed to resemble the enigmatic silent star Louise Brooks.)
"The film’s radical approach won both extravagant praise and harsh derision: the critic Pauline Kael dismissed it as ‘all solemn and expectant—like High Mass.’ Mr. Resnais’s attitude was more amused.
“‘I don’t believe it is really a riddle to be solved,’ he told the television interviewer François Chalais. ‘Every spectator can find his own interpretation, and it’s likely to be the right one.’”
Joe Cuba’s “Pud-Da-Din,” Bustin’ Out, 1972. One of the many ingredients in the thick stew that was the Astronettes—>Young Americans sessions.
Bowie and Mike Garson, Olympic Studios, London, 14 January 1974 (Kate Simon). The day Bowie cut “Big Brother,” “Rock ‘n’ Roll With Me” and “Candidate.”
Top: 1973. You love David Bowie and are trying to learn how to play “Rock ‘n’ Roll Suicide” and “Watch That Man.” Then one day in the music store you see it: a songbook! Grab it, buy it and run home.
Bottom: Wait, what? Whose songs are these?
One of the more obscure Bowie moments: playing rather grim alto saxophone on Steeleye Span’s rather grim cover of Phil Spector’s “To Know Him Is To Love Him.”
Recorded December 1973, London. Released on Now We Are Six, March 1974.