Here Today, Gone Tomorrow

Here Today and Gone Tomorrow (Ohio Players, 1968).
Here Today, Gone Tomorrow (Bowie, 1974).

David Live was near-universally regarded as the worst record Bowie released in the ’70s. It earned one star in the Rolling Stone Record Guide; Lester Bangs called it “a dismal flatulence”; Christgau, giving it a C-minus, wrote it was “the artiste at his laryngeal nadir, mired in bullshit pessimism and arena-rock pandering.” Bowie, in 1977, admitted he had never even played it; Tony Visconti, who had been hired to help turn a set of spotty concert tapes into a 2-LP album, called it “one of the quickest and shoddiest albums I’ve ever done.”

Some of the problem was technical, as the Philadelphia concerts had been dismally recorded: the backing singers and musicians often had wandered off-mike, requiring players to redo their performances in the studio, while the overall sound was a weak struggle between tinniness and murk. The final mix was mainly the work of engineer Eddie Kramer at Electric Ladyland studios (Visconti recalled Kramer ridiculously “conducting” the mixing desk, throwing his head back while he slopped together what would become David Live).

Sound quality scarcely mattered to RCA, who wanted to rush-release a live record before Bowie resumed touring later in 1974. After all, the mid-’70s were the banquet years for the double-LP live album, and the sight of their thick, cracked spines, their seed-littered gatefolds, would likely be the equivalent of Proust’s madeleine for a whole generation. Frampton Comes Alive. The Song Remains the Same. Cheap Trick At Budokan. Bob Dylan At Budokan. Made in Japan. One More From the Road. Double Live Gonzo. On Your Feet Or On Your Knees. Wings Over America. Live! Bootleg. Miles of Aisles. Eagles Live. Kiss Alive! Live Bullet. Waiting For Columbus. Yessongs. All the World’s a Stage. Love You Live. Welcome Back My Friends to the Show That Never Ends. And so on (even Barry Manilow had a 2-LP live album, on which he sang a medley of his self-penned TV commercial jingles). They were greatest-hits records as well as party soundtracks, and perhaps one reason David Live didn’t work is that it wasn’t a party record at all—it seemed like an aural remnant of some kabuki performance, Bowie’s rock “standards” reworked as cabaret songs.

Visconti managed to salvage David Live when he remixed it in 2004 and re-sequenced the tracks in order of performance, making the record richer and more coherent. The wisest move was to restore to the playing order Bowie’s cover of the Ohio Players’ “Here Today, Gone Tomorrow,” one of the show’s better performances.

“Here Today And Gone Tomorrow” (Bowie discarded the conjunction) was one of the first Ohio Players singles, from 1969, and it’s more Southern soul than the slick urban funk the band would make its name on in the ’70s. Centered on Leroy “Sugarfoot” Bonner’s guitar and deliberate in its pacing (the chorus doesn’t arrive until nearly halfway through the song, and only appears once more, after the entire process repeats), “Here Today” has the singer lamenting a woman who blows through town like a sailor or a gypsy, leaving him (and many other guys, apparently) heartbroken.

Bowie’s version, as with “Knock on Wood,” hardly deviates from the original, though Earl Slick’s guitar is arguably hotter than Bonner’s. Bowie takes the song at a faster pace, and where the Ohio Players drift off in a half-minute coda of resignation, Bowie keeps repeating the chorus, as if repeating his lament long enough would somehow cauterize the wound.

Recorded 8-12 July 1974 at the Tower Theatre, Philadelphia (first released as a bonus track on the Ryko CD reissue of David Live, and sequenced properly on the 2005 reissue). Performed only during the Philadelphia shows.

Top: Gedney, “Girls on train,” London, 1974.

15 Responses to Here Today, Gone Tomorrow

  1. bombadear says:

    Yes the original David Live was truly turgid. It was one of those records which having spent ones pocket/birthday money on one tried to like but never could quite. But the remix is considerably better (for once).

  2. snoball says:

    In some ways the remixed David Live is my favourite live Bowie album. It’s more assured than Santa Monica ’72, although it doesn’t have much of that earlier album’s charm. It’s punchier than Ziggy Stardust: The Motion Picture, that other great cut’n’paste live Bowie album. And compared to Stage, the older songs have space to breathe in the way they’ve been reworked, unlike the later album where the Ziggy material especially is done at a run, as though Davy has a hot date waiting for him and just wants to get this annoying concert business out of the way.

  3. diamondog says:

    Ive got to say ive always loved David Live , the re working of his back catalogue i think is one of the bravest moves he ever made and i like it for the most part.Your hearing familiar songs given a freshness like no other performer ever did, his standards given new life. I only realised there was a poor mix when i watch Cracked Actor ,as a lad it to me sounded totally weird and i preferred David Live .Listen to any of the boots and they may sound more pleasing and traditional but they don’t play as well or have that eerie edge if there was a problem with the musicians it hardly shows they play superbly.

  4. sekaer says:

    I read somewhere that David Live is coveted by guitar players way beyond Bowie people because the extraordinary playing of EARL SLICK. It is one of the most shattering guitar performances I’ve ever heard. He is the secret weapon of a live album that I’ve always liked. Keep up the great posts!

  5. Joe the Lion says:

    David Live, perversely, always reminds me of Christmas. I was given the reissue for Christmas (along with Aladdin Sane) in 1990 when I was thirteen. Nothing is guaranteed to make me feel more festive than the opening of All The Young Dudes (it’s the first track I skipped to)!

    Even when I judge it more objectively, I think David Live is a great album. Made better in the recent remaster, but I always loved the ‘reimagining’ of the songs, and particularly Earl Slick’s playing.

  6. Gloria Wilson says:

    I happen to think David Live is a great album. Not a party album but a story. I love it!!!! Loved it then and live it more now!!!

  7. Tra McPeak says:

    When David Live came out, I hated it. Five years later, it became my favorite album. (I met Tony Newman in a bar in Nashville playing with Dee Murray! He listened to me go off about his performance on David Live. That lick before the lead on Suffragette City still kills me.) I loved the Ryko reissue because of the extra tracks, but, especially because you got to hear the complete piano from Side A Sweet Thing to side B Changes without the interruption of changing records. I didn’t like the Virgin remix. Too much saxophone and piano. It pushes Earl Slick to the side. The rough, raw, out of order to fit the vinyl original really shakes my tree. AD, BC ordered so you could flip both records and keep the order. Still my favorite record of all time.

  8. The Idiot says:

    I’ll jump onboard with the David Live defenders. It’s one of those supposedly awful records where reputation far outstrips reality; you listen and wonder what about it could possibly warrant the kind of criticism it’s received. It’s just not *that* offensive, even in its weakest moments. Minor flaws blown up to gargantuan proportions by Bowie doubters in need of a punching bag.

    * Necessary disclaimer that I fully realize the above sound likes fanboy drivel.

    Also for all the cocaine-induced indulgences of the tour, my thoughts upon last listening to the David Live version of the Sweet Thing suite: very tasteful.

  9. John Larkin says:

    David Live was my first Bowie album. One of my older brothers gave me a gift voucher for Christmas in December 1974 and I purchased David Live from a department store in my hometown. The department store was called, coincidentally, “David Jones”. It still exists.

    When I went into the store I was not sure at first what to buy with my gift voucher. I then saw a poster on the wall advertising the David Live album. It stood out from the other posters on the wall. I went to the record bins and checked out the album to see what tracks were on the LP. I recognised Rebel Rebel, 1984 and Knock On Wood having heard all receive plenty of airplay from radio stations, such as 2SM, in Sydney. I had particularly liked hearing Knock On Wood on the radio,

    I bought the album and played it as soon as I got home. I was captivated. I agree with Gloria Wilson above… it is like a story. I had never seen Bowie live. I had no idea what he looked like performing live so as I listened to the four sides of the album I was conjuring up images of the stage, the musicians and Bowie himself. I was 16 years of age.

    I am one of seven children and our household was populated with albums by the Beatles, Rolling Stones, America, Creedence Clearwater Revival, Frank Zappa, Pink Floyd, The Doors, The Byrds, The Yardbirds, Savoy Brown, Neil Young, The Beach Boys and so on. My album collection, albeit small, consisted of Led Zeppelin and Deep Purple.

    Bowie was different. So different. David Live captured my imagination and changed my life.

    The AD/BC pressing of the album sides was useful back then. My parents had a HMV stereo with a Garrard auto-changer. I am amused when I see sellers of eBay listing the 2LP set as a mis-pressing.

    I think David Live is an incredible album. Bowie’s voice is so resonant and moving on Sweet Thing. Other songs that stand out for me are Aladdin Sane, Width Of A Circle, Rebel Rebel and Knock On Wood. Earl Slick’s guitar is brilliant. I would lay on the couch and listen to the album from beginning to end. Sometimes I would borrow my brother’s Pioneer headphones and simply enter another world. Those visions still come to me today when I play the album, nearly 40 years later. It was our long summer school vacation and David Live was played so many times. I transferred it to cassette at that time.

    The Ryko reissue was interesting due to the additional tracks. The 2005 remix is a little disappointing as Slick is not so prominent in the mix.

    When the school year began in late January 1975 I shared my thoughts about David Live with other members of my class and one friend, Kevin, lent me two albums that belonged to his sister… Ziggy Stardust and Hunky Dory. As I listened to each album it was something new again for me. Songs that I had first heard on David Live I was now hearing in their original form. A new revelation. Starman was of course familiar to me as it had received quite a bit of airplay in Australia.

    My next Bowie purchase was Diamond Dogs followed by Young Americans when it was released later in 1975. I did not stop there and I am still collecting Bowie’s albums as I upgrade my vinyl. I have an unplayed copy of a David Live reissue that was released in Australia about 1976 or so. The artwork on the back of the album was slightly different to the 1974 issue and for that reason I bought it. One day I shall flip it onto the turntable.

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  11. Steve says:

    Afer reading this part ofyour blog I hunted out an ancient low-fi C90 of DB at Curtis Hixon Hall, Tampa, recorded 2nd July 1974, a couple of weeks after the David Live shows. Of minor interest; gig begins with an apology about most of the set and lights being “stuck in a swamp 15 miles from here” due to a truck crash; set list exactly as per David Live but without Here Today, mixed live All the Young Dudes and Rock n Roll with me have the vocals turned up so much to make them sing-a-longs; Cracked Actor has Earl Slick blasting and threatening with only drums, no synth til the end, Bowie’s voice cracks horrible as he hits a high note at the end of Rock N Roll Suicide. Just a qucik point re the official live albums – all have the guitar mixed much further down than was actually the case – Ziggy The Motion Picture is a travesty in my opinion!

    • Iain Simpson says:

      Yes I find that will all Bowie Live albums is the guitar is toned down too much as compared to the actual live show. Nassau 76 is extremely bad on the mixing, too much other stuff and not enough lead guitar.

  12. Steve says:

    Intersting to see the set list from Wisconsin 10 October 74, just three months after David Live: Memory of a Free Festival (Mike Garson band)/ Rebel Rebel / John I’m Only (YA version), Sorrow / Changes / 1984 / Moonage Daydream / RnR with me / Jean Genie – Love me do / Diamond Dogs / “These are some very new songs for an album next year” Young Americans / “This one is for the girls, I dont write many love songs” Can you hear me / It’s gonna be me / Somebody up there likes me / Suffragette City / RnR Suicide. Be interested to know the band from this part of the Tour, def still Earl Slick and of course David Sanborn, and from the excellent backing vocals I presume Luther Vandross and Co.

  13. Paul O says:

    Following the “Here Today, Gone Tomorrow” link on the first Poll post, I can’t resist mentioning that this is my #1 album choice. Love this transitional record and the re-workings of the early classics on it. Probably doesn’t hurt that I saw this tour in Boston and was MESMERIZED.

  14. Anonymous says:

    On the notes, written inside the sleeve by Bowie,it says there are no overdubs except some backing vocals. We now know this is not true as Mike Garson has now admitted that he asked Bowie if he could re-record his piano solo on Aladdin Sane and Bowie agreed.

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