Chapter Nine: In the Realms of the Unreal (1994-1995)

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Epigraphs   Johnson: quoted in Dwell, March 2007; Rodgers: quoted in Ted Fox’s In the Groove, 334; Robbe-Grillet: to Susha Guppy, Paris Review, “The Art of Fiction, No. 91”; Mac Liammoir: quoted in Simon Callow’s The Road to Xanadu, 168.

370  The unreleased Leon tapes and the “Segue” tracks that appear on 1. Outside are the work of the improvising set of musicians/co-composers in the initial March 1994 sessions at Mountain Studios. That said, I’ve also included in these credits musicians from the January 1995 New York sessions to cover what sound like, on occasion, different overdubs and rhythm tracks on the officially-released segues—in particular the first Nathan Adler segue—and on “Nothing to Be Desired.” It’s possible these overdubs were recorded in the West Side Studios sessions of late spring 1994, but given that Eno was working on “Segue” mixes and backing tracks in late 1994, there’s a decent chance that at least a few overdubs hail from January 1995; Eno: gear (including transistor radio) as per Eno to Musician, November 1995; commandeered the DJ’s system: as per DB to Steven Wheeler, Music Connection, September 1995. “We spent most of our time at the party afterwards talking about what we were both doing musically. We were going back and forth to the DJ putting on different tracks that we were both writing [laughs]. It almost became a listening session, with people dancing until the record was taken off, and then another one would go on”; distressed instruments: DB interview tape with Simon Witter, 4 October 1995; on the same course again: to Dominic Wells, Time Out, 23-30 August 1995; crank out a record of songs: to John Schaefer for “New Sounds,” 15 September 1989, reprinted in Opal No. 15 (Winter/Spring 1990). I wrote about Wrong Way Up for Pitchfork in 2017.

371  stop mucking about: Jones, David Bowie: A Life, 394; why am I like this?: Rose to Kerrang!, 21-28 April 1990. (Soon after the “I’m gonna kill you Tin Man!” exchange, Rose and Bowie made up); extreme positions: to David Gritten, LA Times, 27 September 1992; mini manifestosboring and bland in popular music: to Ingrid Sischy, Interview, September 1995; songs in 11/8: as Gabrels described it to Trebuchet, 22 November 2014, adding that he sometimes used graph paper to figure it out; bigger landscape in play: to Mark Rowland, Musician, November 1995; full participation creatively: 1 July 1994, “Hollywood Online” web chat (Bowie’s first-ever web Q&A); disastrous new media adventure: to Paul Schütze, The Wire, September 1995.

372  you sort it out: LA Times, 27 September 1992; make the medium fail: to Robert L. Doerschuk, Keyboard, March 1995; evolving on the cuspSim Earth: to Kevin Kelly, Wired, May 1995; endless puzzles: DB’s London press conference for the Outside tour, 14 November 1995; armed with fodder: Interview, September 1995; it’s a visual society now: to David Lister, The Independent, 24 September 1994; musicians always have to be catching up: McLaren’s “end of the Eighties” essay for the Village Voice, 2 January 1990; periphery of the mainstream: Witter interview tape, 4 October 1995; Rudolf Schwarzkogler: (1940-1969). In 1965, he and other Viennese artists—Hermann Nitsch, Otto Mühl, Günter Brus—formed the Wiener Aktionsgruppe (‘Vienna Action Group’). The self-castration myth apparently began with a 1972 Robert Hughes article in Time, which described Schwarzkogler as the “Vincent Van Gogh of body art.. [who] amputated his own penis while a photographer recorded the act as an art event.” Needless to say, the castration imagery in Schwarzkogler’s Aktion series was simulated. Further, the model was Heinz Cibulka—they weren’t self-portraits; Nitsch: (1938-). The artist whose work Bowie most drew on for Outside, as the ritual murder of Baby Grace seems influenced by descriptions of Nitsch’s Orgies Mysterien Theater. Nitsch and Bowie met several times, including a 1997 concert in Vienna (“Here was a short, plump, red cheeked, long gray bearded perky Prof…The tiny baby soft hands. Full of crinkly smiles and of sparkling eye he came over as a little like Santa on a night off. Try as I might, I could not combine the beautific (sic) face in front of me with the barely whispered of horrors of his chosen artistic expression. For even today, in this post-Hirstian era, his 1970s’ exploits still leave one’s mind whirling and the blood curdling.. After our show, with band in tow, we all went off to an industrial style club where, my goodness yes, Herman cut-a-rug, jiggling like some frenzied Friar Tuck.” (Bowie web journal, 23 August 1998)); Ron Athey: (1961-) his “crown of thorns” is referenced in the “Hearts Filthy Lesson” video, and a computer-manipulated image of Athey appeared in Bowie’s “Diary of Nathan Adler” article in Q.

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373  O.J. Simpson: Humo, 5 December 1995; role playing is essential: Witter interview tape, 4 October 1995; Whole Earth Review: e.g., “A new profession, meme-inspector, comes into being”; characters: descriptions from Eno’s “Notes on the Vernacular Music of the Acrux Region” (an appendix of his 1995 diary) cross-referenced with Trynka’s various interviews in Starman (364-365); all the events of the day: Interview, September 1995; Oriental stuff: Trynka, Starman, 364; cannot even play four bars: Spitz, 359.

374  inhibiting or embarrassing position: to Paul Gorman, Music Week, 26 September 1995; fellow pirates: Interview, September 1995; weren’t any good: Jones, 394; over-coherent: Dominic Wells DB/Eno interview, Q, January 1995; archive of strange sounds: Witter interview tape, 4 October 1995.

375  3 March 1994: journal entry was part of the David Bowie Is exhibit; blindingly orgiastic: Ray Gun, October 1995; entirely different spin: to Chris Roberts, Ikon, October 1995; had to do with the art world: to Melinda Newman, Billboard, 19 August 1995; bootlegged: details on the development of Leon, its bootlegging and the assessment of its bootlegger are per Gabrels to CO, August 2018. By the early 2010s, the “I Am With Name” suite was circulating in full, while the other two suites only existed as fragments on various bootlegs. When I began writing blog entries about Leon in January 2013, a mysterious figure (who has never emailed me again, at least via that same address) contacted me and sent me the full three “suites,” with the caveat that I could not share them with anyone, nor post audio excerpts of them on the blog. While this was a bit cheeky for someone sharing pilfered goods, I upheld my end of the deal—the subsequent leaking of the three “full’ suites wasn’t my doing.

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379  incredibly boring: Billboard, 19 August 1995 (“because we did all our recording in Switzerland, it’s about ‘Day One: went skiing, looked at mountain, looked at lake Day Two: bought fromage’”); what the lyric contentafter the fact: Gabrels email to Nicholas Greco, 25 January 2000; cut up the tape: Jones, 397; all based on me: Ray Gun, October 1995; great skeleton…around in 1995: Music Week, 26 August 1995.

380  Adler: another likely reference is to Albert Adler, founder of the individual psychology school; fragmented kind of state: Ray Gun, October 1995.

381  wants to be God: 2003 interview with Koenig; Baby Grace’s voice…that kind of man each time: Humo, 5 December 1995.

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382 Blair Witch Project: “I really wanted to give it a chance but I completely lost interest around fifteen minutes in. Iman was far more objective and felt that without all the hype it would have worked for her a lot better and that there was ‘the kernel of a good idea in there’. Nuts!!” (Bowie web journal, 16 August 1999); Charrington: From Bowie’s interview with George Petros and Steven Blush, Seconds, August/September 1995. S: Do I detect a character from 1984 lurking on your new album? B: Not intentionally. The guy who rents the room… A-ha – Catshriek! Yes, the guy who owns the store in 1984. That’s a little bit of him, I thought. It is very much. A very English character, he’s almost the stereotypical shop owner. 1984’s dystopian imagery has always played a role in your music. It has, indeed. I think it comes out of my background. For those of us born in South London, you always felt you were in 1984. That’s the kind of gloom and immovable society that a lot of us felt we grew up in.”

383  held back a year: New Zealand Herald, 26 June 1999; pissed off more people than Tin Machine: Reevz.net, ca. 2003.

384  Nicholas Nickelby: Ray Gun, October 1995; Grand Guignol: Billboard, 19 August 1995.

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385  Small plot of new land: A Thousand Plateaus, 161. The phrase was a potential response to a question posited a page before: “how can we unhook ourselves from the points of subjectification that secure us, nail us down to a dominant reality?” (Chapter title is “How Do You Make Yourself a Body Without Organs?”) Duncan Jones was a philosophy major at college around this time, though ATP‘s absolutely the sort of book Bowie would love in any regard; Thou Swell: by Rodgers and Hart; functional theatricality: Gabrels email to Greco, 19 March 2000.

386  Hearts Filthy Lesson along with the single edit, it has five remixes found on various single issues—most on the UK 12″ (Trent Reznor’s Alternative Mix; Tim Simenon’s mix (called, variously, the Simenon Mix and the Good Karma Mix); and Tony Maserati’s Rubber Mix, Simple Test Mix and Filthy Mix); juxtapositions and fragments…it makes things a lot clearer: Outside promotional video, 1995; more hooklike: Gabrels email to Greco, 23 January 2000.

388  Thru these Architects Eyes   Live: only performed twice in the 1995 tour, at Tacoma and Hollywood dates in October.

389  boys in leather: quoted in Gregory Woods’ Homintern, 158; we, the best: in Johnson’s review of Mein Kampf for the Examiner, quoted by Kazys Varnelis in “Philip Johnson’s Politics and Cynical Survival,” Journal of Architectural Education, November 1994.

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391  Wishful Beginnings its exile (cut from the second European CD issue of the album) was short-lived, as it was restored to the 2003-2004 reissues; Joni Ve Sadd…Macintosh Quadra 650: shown as part of the David Bowie Is exhibit; going back to the Romans: Seconds, August/September 1995; Rothko: stomach-churning details on his suicide are in James E.B. Breslin’s biography; many sources inaccurately say that Rothko slashed his wrists.

392 called 1. Outside: BowieNet chat, 13 November 1998.

394 The Motel    could occupy the territory of Bowie’s: Eno diary, 11 April 1995; NME offices: recalled in the Walker documentary 30 Century Man; traitors to themselves: Humo, 5 December 1995.

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395 Outside  outsider art: In early 1972, Cardinal, a teacher from the University of Kent in Canterbury, published a survey of “marginalized” artists that he wanted to title Art Brut, referencing how the painter Jean Dubuffet had classed similar artists. His publisher wanted “something more easy to get on with the English ear”: hence Outsider Art. Reviewing the book, Corinne Robins (“A Vocation for Madness and Art,” NY Times, 8 April 1973) pinpointed the flaws of Cardinal’s approach, that he conflated surreal, obscure artists with those who suffered from schizophrenia, and treated the latter as Noble Madmen. Some claimed that “outsider art,” because of its lack of technique, was more pure, spontaneous, and resonant (Dubuffet in 1951: “Those works created from solitude and from pure and authentic creative impulses—where the worries of competition, acclaim and social promotion do not interfere—are, because of these very facts, more precious than the productions of professionals.”) Once the art world became a wing of the stock market in the Eighties, the idea of “outsider” purity became even more alluring. The only remaining real artists were Sunday painters, weird retirees, Jesus enthusiasts, and assorted hermits; Tuchmanhappy looking at them: Parallel Visions, 10; exhilaration watching them work: quoted in Thompson, Hallo Spaceboy, 118.

396  Wild Man Fischer: A Frank Zappa discovery from the late Sixties (how Bowie heard of him). Fischer was a typical “outsider” artist  in that he recorded sporadically, was bipolar and diagnosed with schizophrenia, and later in life was on the street for a time. He died in 2011; no longer felt scrambled: Q, January 1995; Henry Darger: the full title of his opus was The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion. Its influence on early 21st Century culture is inescapable, from the band Vivian Girls to the cover art of Animal Collective’s Feels to John Ashbery’s poem sequence Girls on the Run; strong, muddy, prolix…wish it was shorter: Eno diary, 18 June 1995; Armstrong: while Armstrong is credited on “Thru These Architects Eyes” (an overdub from the West Side sessions in summer 1994), he apparently isn’t heard on his own song, “Outside.”

397 We Prick You    full of tangential ideas: Eno diary, 11 January 1995.

398  something to be desired…lovely melodies in his rhythm lines: Eno diary, 16 January 1995.

399  I’m Deranged  a remixed/edited (2:37) version appeared on the Lost Highway OST, released 18 February 1997 (a longer edit was used for end credits); just after lunch…totally reborn: Ray Gun, October 1995; serious orchestrated guitar stuff: Musician, November 1995; the bit you liked never happens again: Eno diary, 17 January 1995; F minor progression: i-II7-v-III-i (Fm-G7-Cm-A flat-Fm), with the major chords delaying the progress of F minor to its dominant chord, C minor, and its return home again.

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400  really rather disturbed words: Detour, March 1997. Hallo Spaceboy the Pet Shop Boys remix was issued as 1. Outside‘s third single in February 1996 (four other remixes appear on a Virgin promo 12″ and were collected on the 2004 2-CD album reissue).

401 buried in moondust: Gysin, The Process, 35. There’s an unsubstantiated report that “if I die, moondust will cover me” were Gysin’s last words in 1986 (over the years, I’ve grown dubious of anything that’s allegedly a famous person’s last words). Gabrels’ reference to Bowie finding “moondust” in a book of poems, possibly John Giorno, was possibly a misremembering of seeing Bowie reading Gysin; long sustain guitars…middle eastern scale…pretty much forgotten about it: Gabrels’ response to a query on his website, Reevz.net, ca. 2003 (some quoted in Pegg, 103).

402  almost nothing…we had something…Lagos Mack-truck weight: Eno diary, 17 January 1995; follows the chord changes: Reevz.net, ca. 2003; Space Oddity, frankly: London press conference, 14 November 1995.

403 Oxford Town  hunter to my pastoralist: Eno diary, 17 January 1995; kept us in suspense: Eno diary, 19 January 1995; text almost turned into music: Byrne, Stop Making Sense DVD commentary.

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404  No Control  sturdy frame: Musician, November 1995.

405  body of a great song…extended to the future: Eno diary, 20 January 1995; down a chordal slope: Momus on the “No Control” blog entry, 8 April 2013; Jonathan Coulton: in a very minor coincidence, Coulton and I went to high school together—he graduated the year before me.

406  Onion: written by Nathan Rabin, 21 April 1999; vaguely offered financial backing: Eno diary, 19 January 1995; Indonesian pirates…a peculiar piece of work: Ray Gun, March 1997; Saint Petersburg: Eno told Mojo in May 1997 that he’d moved to Russia because “London is now the hippest city in the world [and] if you live in England and you finally scale the thorny path to celebrity, finally the critics decide, ‘Fuck me, he’s been around so long I guess we should leave him alone.’ You then find you get invited to do every stupid, pathetic thing going—you know, judge this competition, award this, and so on—and I just saw my life turning into a series of small events. I thought I’d go somewhere else where there aren’t any small events”; far out…put it on at a party: Music Connection, September 1995; St. Petersburg and wherever I amRipley’s Believe It Or Not…that new tuberculosis: USA Today, 12 March 1997.

407  Salzburg cancelled: in August 1998, Gerard Mortier, the director of the Salzburg Festival, was quoted in the Austrian press that the Bowie/Wilson opera concept was “stagnating” and that he wouldn’t have the Festival finance Bowie’s proposed stage design, describing the opera’s progress as being at an “impasse”; over 24 hours of material: BowieNet web chat, 17 October 1999; pieced together: Eden.vmg chat, 2 February 2000 (I realize I mistakenly called this a BowieNet chat in the text—pedants get a half-point); Afrikaans: this title apparently originated from a fan’s posting on a long-defunct Bowie message board in July 1997; Ebola Jazz: the origin of this 17-track fake setlist was apparently an anonymous email sent to the Teenage Wildlife site in March 1999. You’ll still find the occasional bootleg or torrent listing these names: caveat non-emptor!; falsifying a concert: a March 1994 diary entry displayed in David Bowie Is; never took place: London press conference, 14 November 1995; I think Brian would have the patience: Soma, July 2003.

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