Half a year after Bowie’s surprise return, it turned out that the surprise return wasn’t quite done yet. The Next Day Extra, announced in September 2013, offered four new tracks, along with compiling previous bonus tracks and remixes. It was, cynically, a means to get fans to buy the album again and, generously, a way for Bowie to get more songs out, rather than letting them languish for decades in his vaults, like all the alleged Lodger outtakes.
So what was The Next Day Extra? How should it be considered? As a new EP? As a digestif for an overstuffed album? As just more ones and zeroes sent into the ether, more disconnected music for a time when sequenced albums are antiquated?
The Extra tracks were mainly cut during the Next Day sessions but had needed more time to cook, Tony Visconti said, with further overdubs done in early 2013. But they didn’t sound too labored over. If anything united the Extra tracks, it was a sense of Bowie letting his hair down. No longer having to establish the Back-From-the-Dead Bowie, he could sneak out a couple of loopy, SF-themed songs that few people (relatively) would ever hear. Sharing an overbearing, blotto production aesthetic, the four Extra tracks now seem, with two years’ distance, to be a brief loud party held before the next scene change.
“Born In a UFO” is a case in point: a cracked parody of Bruce Springsteen (obviously in its refrain, but the verse melody also has a pinch of “It’s Hard to Be a Saint In the City“), with a Dylan nod (“‘there’s no direction home,’ she pleads”) and even some of Toni Basil’s “Mickey” in the rising keyboard lines (played by Bowie). A homage to SF serials Bowie had watched as a boy in Beckenham and Fifties novelty songs like the Earth Boys’ “Space Girl,”, it’s also a workable metaphor for falling in love with the “right” person at last: she or he can seem like they fell out of a spaceship one day, sent here to upend your life.
Zachary Alford said the song began as a reworking of a “leftover from Lodger,” (though there’s a chance he was recalling another song whose title Bowie later shifted to the released “UFO”). If so, you can see a few common threads—“UFO” shares the gonzo mood of “Red Sails” and has some vague similarities, chord-wise, to “DJ”: more in its sense of movement, with three rising chords as a hook (F-G-Ab in “UFO”, Am-Bm-C in “DJ”). Visconti and Alford (or Sterling Campbell) hammer the hell out of things; Earl Slick gets the “Andalusian” guitar solos. Bowie plays a suburban loser made hysterical by lust, though more for his alien inamorata’s fashion sense (“an a-line skirt,” “her clutch bag,” “silver hair, trapezoid flanks” and, best of all, “I was so in love with her lavender vest!“). All she’s missing is a bipperty-bopperty hat.
Recorded: (backing tracks) ca. July 2012, The Magic Shop, NYC?; (overdubs) fall 2012-spring 2013, Magic Shop; Human Worldwide, NYC. Released on 4 November 2013 on The Next Day Extra. Thanks to “Crayon to Crayon” for musical insight, as often.
Top: Maj Halova, “Žižkov Television Tower,” Prague, January 2015 (“there are babies climbing our rocket-like TV tower”). Maj has been commenting for many years, and it’s always nice to see her take on a new post. Thanks, Maj.
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