It's a feeling that I really tried to capture in the paintings, while I was there, of the Turks that live in the city. That's one of the reasons why I was attracted to the city. One never knows how long it is going to remain there. īowie (1977): Berlin is a city made up of bars for sad disillusioned people to get drunk in. is not a relaxed place, certainly, and it produces a kind of nervous mirth – whistling in the dark.
There’s a sense of foreboding that one wouldn’t have expected to come out of that environment, but it did. It was rich with self-parody as well as a lot of inventive ideas. Laughing at ourselves, laughing at our pretentiousness and at some of the stuff that came out and never got on to the album. We spent a lot of time laughing, actually. I never knew the complete melody until I’d finished the song and played the whole thing back. Having sung one line, I’d take a breath and do the same thing again, and so on to the end. īowie (1977): I had no melody, so I only sang the lines I’d written for four or five bars at a time. It was something that I learned from working with Iggy and I thought a very effective way of breaking normality in the lyric. Then I would repeat the same process for the next section etc. I would put the headphones on, stand at the mike, listen to a verse, jot down some key words that came into mind then take. īowie (2001): Most of my vocals were first takes, some written as I sang. By the next day, he'd finished, packed up, and gone home. īrian Eno (1977): It was a very extraordinary performance. This is the way I did the rest of the album. Robert Fripp (1979): And the very first thing they did was put up Beauty And The Beast. but I'll have a go!" īrian Eno (1977): Fripp did everything he did in about six hours - and that was straight off the plane from New York too! He arrived at the studio at about 11pm and we said “Do you fancy doing anything?” and he said “Might as well hear what you've been doing.” And while we were setting up the tapes, he got out his guitar and said “Might as well try a few things." So I plugged him into the synthesiser for treatments and we just played virtually everything we'd done at him - and he'd just start up without even knowing the chord sequences. Do you think you can come in and play some burning rock-and-roll guitar?" I said, "Well, I haven't really played guitar for three years. Robert Fripp (1979): said, "We tried playing guitars ourselves it's not working. Then they called Robert Fripp, Eno’s collaborator on No Pussyfooting. We didn't go into say 25 takes, but I'd say that most tracks were done in about five takes. I wouldn't say they were first takes, we worked hard and long on each track. Sometimes I would take a great section and copy it and edit it into the song later on, cutting right across the 24-track tape. Then we'd realise that the demos needed just a little editing without re-recording. Tony Visconti (2001): We always started these albums as making demos.
We'd sort of say "Let's do this then" - and we'd do it, and then someone would say "Stop" and that would be it, the length of the piece. īrian Eno (1977): It was all done in a very casual kind of way. With such great musicians the notes were never in doubt so we looked at 'feel' as being the priority. I think the rest were probably run at two or more times until the feel was right. īowie (1999): A couple were very definitely first and only takes. Not only that, everything on the album is a first take! I mean, we did second takes but they weren't nearly as good. The whole thing - except Sons Of The Silent Age, which was written beforehand - was evolved on the spot in the studio. He gives those pieces a lot of character. And after that very brief instruction, we'd start playing - and, in that tiny space of time, Carlos would have worked out this lovely line. Produced by David Bowie and Tony ViscontiĪssistant engineers: Dave Richards, Eugene ChaplinĪbdulmajid (Bowie-Eno) įebruary 2007 Toshiba EMI mini LP replica CDīrian Eno (1977): David would say 'Okay, it's that, that, twice as long on that, and then that - and we do this a couple of times and then back to that again. Tony Visconti, Antonia Maas (backing vocals) The Secret Life Of Arabia (Bowie/Bowie-Eno-Alomar) 3:46ĭavid Bowie (vocals, keyboards, guitar, saxophone, koto)īrian Eno (synthesisers, keyboards, guitar treatments) BOWIEGOLDENYEARS is currently being expanded and redesigned
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