The official Bowie narrative: after the sudden end of A Reality Tour, he takes a step back, assesses his life and slowly, imperceptibly, he fades into the twilight, not to return for a decade….
Well, yes, but wait. There’s one problem with this story. Bowie released a new song in 2005. This track, not “Bring Me the Disco King,” was the last studio recording issued under his name until The Next Day. Much of Bowie fandom wants to wish the thing away. Many hated it at the time. It’s understandable: the Bowie story shouldn’t have (possibly) ended with some clang-bang dance track he cut for the soundtrack of Stealth, one of 2005’s notable commercial and critical disasters.
But we can’t ignore it; we can’t pretend that it never happened. It’s “(She Can) Do That.” Listen to it and accept that the man who wrote “Heroes” also wrote this, and he wrote it at a time when he was convalescing, after years of making brooding retrospective albums and “Last Songs.”
keep going don’t stop now keep going take cover keep going be cool…
To be fair, Bowie only wrote the lyrics and top line melody. The rest was cooked up by the producer Brian Transeau (aka BT) and the Berklee professor Richard Boulanger, who worked on the refrain. In early 2005, Bowie cut his vocal at his usual studio, Looking Glass in New York, with Tony Visconti producing and Kristeen Young singing backing vocals. Bowie sent the Pro Tools files to BT in Los Angeles, where BT finished the mix. It wound up being used in a dance club scene in Stealth whose dramatic purpose is to establish Jamie Foxx as a ladies man.
What was Bowie doing? A tribute to/reworking of Hawkwind’s “You Shouldn’t Do That“? A tip of the hat to the Hamtaro theme song? An out-of-nowhere attempt to homage Stop Making Sense-era David Byrne, at a time when Byrne was calm and melancholic? An update of “Right,” another song in which Bowie’s bucking himself up during a dark time?
Of course, one can be cynical and say that Bowie put as much thought into his vocal as he did his coffee order at Dean and DeLuca the morning he cut it. If the brief was “do a dance track for a Jamie Foxx Top Gun ripoff updated for the War on Terror,” there are only so many options.
It’s also obvious Bowie was using “(She Can) Do That” as a tentative first step back into the studio after a long period of recuperation. The question is whether its sound portended a stylistic move. Before his heart operation, Bowie had mentioned to interviewers that he wanted to get back in the studio with Visconti in late 2004, and that he planned something divergent from the Heathen/Reality sound—possibly even cutting an all-instrumental album or something “experimental.”
Was the move meant to be a return to Earthling? Was Bowie actually considering making an EDM record in 2005? Did he listen to a playback of “(She Can) Do That,” have a road-to-Damascus moment and swear off making records for nearly a decade? It’s all speculative.
Full of BT’s trademarks, including the “stutter edit,” vocal pitch shifting and subtle time changes, “(She Can) Do That” ultimately was the Laughing Gnome, back for the millennium, as shameless and irritating as ever. So Bowie’s “last” track for eight years is him thumbing his nose on his way out the door, wondering why people always took him so damned seriously.
Recorded: (Bowie vocal) ca. early 2005, Looking Glass Studios, NYC; music, mixing (LA, early 2005). Released 12 July 2005 on the Stealth OST (Epic EK 94475 ).
Top: Joshua Bousel, “Daphne and Blair’s Last Month Single Party,” December 2005; a stealthy trio.