George Tremlett, a freelance British music journalist, interviewed Bowie in late 1969 and wrote that while Bowie was effusive about most of the tracks on his recently-released LP, he avoided mentioning one song entirely—“Janine”—leading Tremlett to speculate that Bowie considered the song a dud and had regretted putting it on the album.
That doesn’t seem to be the case, as Bowie actually mooted “Janine” as a follow-up single to “Space Oddity” and played it during some 1970 BBC sessions, but true enough, “Janine” has been mainly forgotten in the forty years since. Which is a shame, as it’s one of the few fun songs on a rather serious, dour album. Tony Visconti liked it best of all the Space Oddity tracks, and you can hear why—it’s much like the type of hippie glam that Marc Bolan had begun writing (the first key Bolan single, “King of the Rumbling Spires,” had come out in the summer of ’69).
As opposed to the winsome, unattainable “Hermione” figure of Bowie’s recent songs, “Janine” sounds like a much better time. “You’re fey, Janine, a trooper to the last,” Bowie sings, with some admiration. “Take your glasses off and don’t act so sincere.” Of course, this being Bowie, the center of the love song winds up being its singer, who’s more concerned with protecting his true self than sharing it.
“Janine” is a rocker hidden within a folk song (the acoustic demo has some energy, and even goes into the “Hey Jude” chorus at one point, but it’s hobbled by its staid rhythm) and the studio cut, which attempts to liberate it, winds up being a bit of a hash. The beat’s weak and diffuse and the track is crying out for a simple, solid riff to keep it together. It’s a shame that Bowie didn’t turn Mick Ronson loose on this song a couple years later, as it finally could’ve become the swaggering beast it had potential to be.
Inspirational verse: “If you took an axe to me/you’d kill another man not me at all.” Or even better, “Like a Polish wanderer I travel ever onwards to your land.”
Demo recorded ca. mid-April 1969 with John Hutchinson (Bowie’s introduction claims that the song’s about the girlfriend of George Underwood “who does very nice album covers”); studio version cut ca. July-September 1969 for Space Oddity.
Top: Diana Rigg, doomed newlywed, in On Her Majesty’s Secret Service.