In late July 1969, while David Bowie was performing at the Maltese Song Festival, his father, Haywood “John” Jones, took ill. He died soon after Bowie returned to Britain. Jones had been a source of great stability—financial and emotional—for Bowie in the ’60s, and his death, coming at around the same time Bowie was breaking with his longtime manager Ken Pitt as well as ditching many of his old friends, left Bowie angry and withdrawn. Bowie later told George Tremlett that “Unwashed and Somewhat Slightly Dazed” was his attempt to capture the surreal feeling of the weeks after his father’s death.
“Unwashed,” however, seems more about class anxiety and Dylan-worship than anything else. Bowie told an interviewer in late ’69 that an inspiration for the title had come from the “funny stares” he got on the street, and critics like Nicholas Pegg suggest the song also seems to be revisiting the Hermione Farthingale breakup (Farthingale was of a higher class than Bowie and allegedly didn’t approve of his pop music leanings, and the song is in part a dig at a girl with a “red parquet floor” and a Braque painting on her wall).
The song is a slow reduction, moving from complexity and nuance down to hard basics, and seems, symbolically if not intentionally, to be Bowie throwing over folk music for hard rock. It opens with 12-string acoustic, alternating between Asus2 and D9 chords; Bowie’s dreamy vocal and the occasional sweep of electric guitar suggests it will be another delicate rambling folk song in the vein of “Letter to Hermione.” Then a 20-bar verse destabilizes the song until at last Bowie hits ground with a Bo Diddley beat and riffing guitars and harmonica (the latter played by Benny Marshall, lead singer of the Hull-based Rats, which would be the source of most of the Spiders From Mars).
A frustrated Bowie once said during the Space Oddity sessions that “It’s gotta rock!” and he finally got his wish here. The rest of “Unwashed” is centered on the primal chord progression C-F-C (and occasionally F-Bb-F, which is the spine of Dylan’s “Fourth Time Around”), with Bowie sneering that “I’ve got eyes in my backside” and “my head’s full of murders!” and so on. After a last yelp Bowie lets his players jam for two minutes, the harmonica backing the riffs while Tim Renwick and Keith Christmas solo on electric guitar, and even a horn section stumbles in towards the fadeout. By far the liveliest track on an otherwise somber and leaden record.
Recorded ca. September 1969; on Space Oddity.
Top: multi-generational summit, London, 1969 (Romano Cagnoni).