Watch That Man

Watch That Man.
Watch That Man (live, 1973).
Watch That Man (Lulu, 1973).
Watch That Man (live, 1974).

Lester Bangs, while calling Bowie “that chickenhearted straw man of suck rock you love to hate so much,” admitted in the same article (Creem, December ’73) that Bowie had outplayed the Rolling Stones with “Watch That Man,” Bowie’s annexation of their sound. The Stones settled matters by issuing their first utterly mediocre LP, Goats Head Soup, in response. (Things were catching up to the Stones—during the Soup sessions, producer Jimmy Miller was carving swastikas onto the recording console, while Keith Richards once tried to play a lead guitar solo on a bass and didn’t realize his mistake for 15 minutes.)

“Watch That Man”‘s mix is blatant Exile on Main St.-vintage murk, Bowie’s vocal submerged beneath Mick Ronson’s guitars: at times Bowie sounds like a trebly part of the horn section. Ken Scott, trying to get a wall of sound, pushed all the instruments up in the mix, drowning Bowie’s vocal in the process. MainMan, Bowie’s management company, balked and asked Scott to bring Bowie’s vocal up front. A few weeks later RCA (or Bowie) overruled them, finding the new mix lacked a punch, and so asked Scott to bring back the mud.

Written in the last days of September 1972, while Bowie was holding court in New York before resuming his American tour, “Watch That Man” reflects Bowie’s new A-list status while recounting his initial round of decadence when visiting New York the previous fall. It’s set at a celebrity party where most of the game is being seen by the right people (“No one took their eyes off Lorraine/she shimmered and she strolled like a Chicago moll,” Bowie sings, likely referring to Cyrinda Foxe (cf. “Jean Genie”).

It’s a typical rock & roll party song, as the music’s loud, the champagne bottles and cocaine mirrors are on the table and a gaggle of drunks are hanging together in a corner of the room, stealing glances at the imperious singer arranged on the couch (Bowie seems to be watching TV most of the time). With Bowie, though, it usually comes down to who has the best angle, and by the chorus you realize there’s someone hipper than him in the room. Whether it’s the party host, Shakey, or a drug dealer, or a record exec (maybe he’s all of the above), the “Man” of the title unsettles Bowie, takes him off his game. Finally, he flees the party, heading down to the street. As much swagger as “Watch That Man” has, it ends with Bowie losing face.

The song’s all forward motion—the verses move from A to F#m, while the chorus begins with a slap, three big steps up (“Watch! That! Man!”, over A/D/G). Ronson uses both speakers to dominate the room, Woodmansey gives one of his meatier performances, Bolder keeps the swampy tide of sound moving. Newcomers include pianist Mike Garson, who breaks into Ronson’s flow of conversation, and the backing singers—Linda Lewis and Juanita “Honey” Franklin. The latter head out the door with Bowie, but they sound as captivated by his rival as he is.

Recorded ca. 20-25 January 1973: it was the natural lead-off track for Aladdin Sane. Lulu recorded a version later that year, which became the B-side to her “Man Who Sold the World.” Bowie retired the song after his 1974 tour, with a Philadelphia concert recording collected on David Live.

Top: Garry Winogrand, “Untitled,” New York City, 1972.

12 Responses to Watch That Man

  1. iago g. says:

    can you share with me the source for those juicy Stones anecdotes? Keep up the great work!

  2. col1234 says:


    the Keith story is actually from the same ’73 Lester Bangs piece, which is collected in “Main Lines, Blood Feasts and Bad Taste” (Bangs cites a “friend” as the source, so who knows, maybe it’s a complete lie). The Jimmy Miller anecdote is something I recall, perhaps erroneously, from one of JM’s obits.

  3. iago g. says:

    gotcha. thanks!

  4. Diamond Dog says:

    Bowie is buried in the mix a bit but its a superb opener , the reworked 74 live version was another storming version far better than the 73 live version!!

  5. Rufus Oculus says:

    I prefer Lulu’s version. Oh heresy!

  6. That Man says:

    It’s an unforgiveable crime that Bowie’s superb voice is buried so deep in the mix. Who does that? No one, except Ken Scott on this song.

  7. Freddy Freeloader says:

    It’s about people who look foolish but are decidedly not. Quite possibly Bowie’s using it to justify himself, saying, I might be poncing about in daft clothes and make-up, but, like Lennon in a bag I could eat you up. (I don’t know if he’s actually singing ‘lemon’ or ‘Lennon’ – probably the former which just provides an extra layer of punning, but it’s certainly a reference to this: )

    I was hoping to learn something about the other references – I’m sure they all can be explained. Who is Reverend Alabaster? Is Benny Goodman himself one of the men to watch (could be, he was a great jazz musician who looked square) or is there something else going on there?

  8. Trevor Mill says:

    Just in case you might have missed it, I find “Who’s that man” by Todd Rundgren to be the inspiration for this track, both in title, propulsive feel, feeling of being upstaged and it also features Tony and Hunt Sales… Love the album it’s from – Runt. Just a guess but I think that LP is a big Bowie influence… you reminded me with the ‘What’s really happening’ post.

  9. Jonathan Morris says:

    I don’t know whether the Can track “Spoon” was released before “Watch That Man” was written but there’s definitely a similarity in the lyrics.

  10. Steve says:

    I was listening to The Hollies single “The Day Curly Billy shot crazy Sam McGee”, and found myself singing “No one took their eyes off Lorraine” etc over part of it. The single was recorded August 73, wonder if they had listened to WTM before writing it. (Mainly the track is a rewrite of their big hit Long Tall Woman in a Black Dress though)

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