Moonage Daydream

Moonage Daydream (Arnold Corns single).
Moonage Daydream (Ziggy Stardust LP).
Moonage Daydream (BBC, May 1972).
Moonage Daydream (live, 1972).
Moonage Daydream (live, 1972).
Moonage Daydream (live, 1973).
Moonage Daydream (live, 1974).
Moonage Daydream (live, 1996).
Moonage Daydream (live, 1997).
Moonage Daydream (live, 2002).

I first heard “Moonage Daydream” when I was 16 years old, which is when you should first hear it. I was in my car, listening to some dubbed cassette of Bowie hits, when suddenly:

I’m an ALLIGATOR!!!!!!!!!!!!!!!!
I’m a MAMMAPAPA coming FOR YOU!!!

Teenage bliss. I can’t remember what my exact response was, but it was along the lines of “Jesus! What is this?”

I had bought in. “Moonage Daydream” intends to shock, its spectacular opening a battle between power chords (Mick Ronson hitting hard twice on D, then F#) and Bowie’s dramatics (the excitement furthered by the taste of silence between each chord and sung line). But the track quickly settles down into a groove and its choruses are moody and wistful—it delays the fireworks that Ronson and Bowie promise in its first four bars. The first solo isn’t Ronson but a duet between a pennywhistle and a baritone saxophone.

So “Moonage Daydream” can stand for all of Ziggy Stardust, a vaguely conceptual rock LP about a fake rock star whose songs both parody and subsume rock & roll. As Ziggy is pop music about pop music, so the lyric of “Moonage Daydream” is fused from old rock & roll phrases—“I’m an alligator” come from “See you later alligator,” all the “far outs” and “freak outs” are pilfered from the hippie LPs, while a bizarre line like “you’re squawking like a pink monkey bird” sounds like it was lifted from a lost novelty hit of 1960 (as the solo was, see below). It also could be the pseudo-Russian pop music of Burgess’ A Clockwork Orange, or a botched translation—as if an extra-terrestrial who had been monitoring our radio and TV broadcasts had fashioned an imitation of what it took to be our national musics. Bowie later claimed that was the idea all along.

Bowie wrote “Moonage Daydream” to be the debut single of his “fake band” project, The Arnold Corns, and then refigured it as part of Ziggy Stardust‘s early conception as a West End stage show. So from its inception, the song was meant to serve as entrance music, a character piece for a fraudulent character, whether impostor pop idol (the Corns’ non-singer Freddi Buretti) or plastic rock star (Ziggy Stardust, who Bowie would later claim on stage was the song’s author).

The Arnold Corns project petered out after two singles, only one of which was released, as Bowie focused on designing the Ziggy character and his never-quite-comprehensible storyline (Hunky Dory and Ziggy were recorded back-to-back, with some Ziggy songs preceding Hunky Dory ones, hence the timeline confusion).

What’s missing from the Corns “Moonage Daydream” (beyond Ronson’s guitar) is the sense that anything’s at stake—the Corns single, voiced by Bowie but allegedly sung by the cherubic Buretti (he’s the male equivalent of Chantale Goya in Godard’s Masculin-Feminin), is drearier than much of the music it’s mocking. The Ziggy “Moonage Daydream” works in part because the song was taken out of Bowie’s head and invigorated by Ronson, whose guitar heroics are matched by his string arrangements, bassist Trevor Bolder and producer Ken Scott (who put the phasing effect on the swirling strings at the end of the track).

By the time of the Spiders’ last concert at the Hammersmith in July 1973, teenage girls and boys in the audience were singing along to every word of “Moonage Daydream,” holding their hands to their faces while they sang the chorus, falling in love with themselves as much as they were with Ziggy. Using the strength and delusion of adolescence, the belief that the world somehow has been left open for you, they took the lie and made it sing to them.

Every night you knew that “Moonage Daydream” was going to be the one that really lifted them. Then we’d go and follow on from there to the end.

Trevor Bolder, 1976.

The Ziggy recording is the sum of its players. Bolder doesn’t get that much credit as a bassist, but his work on “Moonage Daydream” in particular is assured and inventive—he starts by anchoring Ronson’s opening chords, then serves as the main melodic voice in the choruses (his descending line, going down the frets from the D string to the A to the E, mirrors the wordless harmony vocals).

And then there’s Ronson. In the studio, Bowie drew a diagram for how Ronson’s guitar solo should sound—it started out as a flat line, grew to form “a fat megaphone-type shape, and ended in sprays of disassociated and broken lines,” Bowie recalled years later. Ronson looked at the chart, went off somewhere (he often wrote arrangements in the bathroom), and came back and performed a solo that exactly followed Bowie’s directions.

The Arnold Corns single version was recorded in April 1971 and released as B&C CB149; the Ziggy Stardust track was cut on 12 November 1971. (Bowie was inspired to suggest a baritone sax/pennywhistle solo from the B-side of The Hollywood Argyles’ “Alley Oop,” “Sho’ Know a Lot About Love,” which featured a fife and bari sax. “I thought that’s the greatest combination of instruments. It’s so ludicrous—you’ve got this tiny sparrow of a voice on top and a huge grunting pig-ox of a thing at the bottom,” Bowie said in 1997.) Bonus note: the solo’s descending minor-chord sequence (Bm/A/G/F#) is cited by Wikipedia as an example of the “Andalusian cadence.”

Bowie debuted “Moonage Daydream” on a BBC session of 16 May 1972, and played it in most shows of the Ziggy tour (the performances linked above are from Dunstable, UK (21 June 1972), Santa Monica, Calif. (20 Sept. 1972) and the final Spiders show of 3 July 1973, which features Ronson’s ultimate version of his guitar solo, all delays and feints). It’s turned up in a few tours (mainly the Diamond Dogs tour ’74, and some of Bowie’s ’90s shows) since.

15 Responses to Moonage Daydream

  1. Peter Slack says:

    I seem to remember that it also features in the Cracked Actor doc as an example of his cut-up lyric technique

  2. Steve Ison says:

    The Andalusian Cadence was v popular with Bowie…Bewlay Brohers and China Girl are 2 more i can think of that have that chord sequence..Just a brilliant,brilliant blog you have here btw….
    Totally inspiring and a joy to read.Best Bowie stuff i’ve ever read..

  3. Peter says:

    This song has been on a loop in my head for almost 40 year.

  4. postpunkmonk says:

    I was also 16 when I heard this song for the first time, and for that I’m grateful. Ronson is simply incredible on that number.

  5. Ramzi says:

    You’re dead right about having to listen to this for the first time at age 16: I did so and it was one of the first indications I would spend too much of my time listening to more Bowie.

    I just watched the 1997 performance linked at the top. I’ve decided that Reeves Gabrels playing on Moonage Daydream is one of my least favourite things on the planet, but I take solace in the fact that it was probably one of his least favourite things as well.

  6. kelly says:

    I listened to it for the first time at age 8 –older brother bought the album. Is that wrong?

  7. There’s something about the guitar solo on the Ziggy album that’s missing on subsequent recordings. As it goes into the repeated note part the sound gets distorted, like it’s being heard on a cheap radio from space. Really adds to the atmosphere of the solo. On the live recordings the guitar sounds too clean to me.

  8. Phil says:

    Twelve. You should be twelve when you hear this for the first time. (For much the same reasons, albeit with an extra layer of fantasised exclusion – when you’re that age you don’t just dream about being up there on the stage, you dream about being the fan in the crowd dreaming about being up there on the stage.)

  9. leonoutside says:

    “Electric Eye on me babe” William Faulkner: Sound and The Fury? Also possible referenced in Shadow Man – the June 2nd, 1910 bit – Quentin’s last day. Whatever – utterly love Moonage Daydream..a cracking fabulous track.

  10. leonoutside says:

    Me: heard at 14.

  11. leonoutside says:

    Chris – ha: just butchered your twitter: yea – that bit: exactly. Nice one for mentioning.

    • col1234 says:

      you never know with DB!

      • leonoutside says:

        “sho-nuff” (Fascination) appears throughout The Sound and the Fury”. It starts with “to the show tonight” (Hang onto Youself). There too: “Frail and thin”. Reused by Bow’ as Thin and Frail (Strangers When we Meet)?

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