The “Sound + Vision” tour, 1990: an 108-show, seven-month venture that opened in Quebec City in early March, shuttled back and forth across the Atlantic for months (and across the Pacific to Japan for a week) and closed on a late September night in Buenos Aires. As it’s the only occasion that I’ve seen Bowie play live (see “Changes”), the tour is tainted with nostalgia for me, a nostalgia leavened by the fact that I can barely recall the show now.
It was the first time since 1968 that Bowie had toured without promoting a new album. Instead he meant to sell the past, to promote his Ryko boxed set and CD reissues, with the hook being Bowie’s public announcements that this was it: the last time he would play the hits. (It wasn’t, for the most part.)
Bowie had kicked around the idea of a greatest-hits revue for years, and had provisionally committed to such a tour even before making the first Tin Machine album in late 1988. Once he’d signed with Rykodisc in spring 1989, Bowie began planning in earnest and soon locked in Adrian Belew as his lead guitarist and arranger. The two spent months determining how to arrange the songs essentially on a budget. Bowie envisioned the tour as a minimalist response to the bloat of Glass Spider: no horn sections, no backing singers, no dancers,* only a small band. So instead Bowie and Belew “put the orchestrations into a sequencer,” Belew recalled to David Buckley. “We kept adding more and more sampling, and we kept buying more and more samplers!”
It was audacious in a way: Bowie, if he wanted, could sample a trademark hook of some past hit on stage, whether David Sanborn’s saxophone on “Young Americans” or Mary Hopkin’s vocal line on “Sound and Vision.” The tour would be a traveling museum exhibit, complete with period sound samples. He and Belew would come out on stage and unveil the old treasures, one by one, set to elaborate light shows and film clips, the latter projected upon a diaphanous screen that hung behind them.
Audiences ate it up (the opening “Space Oddity,” Bowie emerging on stage alone with an acoustic guitar, was a phenomenal moment, I can attest—you could feel the auditorium shake), but there was something of a funereal air to the shows as well. It was as if Bowie was performing a rolling public eulogy for his past, with concertgoers as happy mourners. “Sound + Vision,” the genial obverse of the Tin Machine project, had the same intention: it was a firebreak between Bowie and his past selves, his past music, so that Bowie could enter the Nineties unencumbered.
The setlist was allegedly democratic, with songs chosen by fan votes, a herald of the Pitchfork People’s List.** Bowie said he assembled the 30-song setlist from roughly equal proportions of vote-winners from the UK,*** the US and Europe (the Americans had pushed for the recent hits, the Europeans loved “Heroes,” which Bowie introduced as “a song for Europe!” onstage at Linz—he sang the chorus in German, too).
It’s evidence that democracy is at heart bland. There was nothing from the Sixties besides “Space Oddity.” Nothing from Man Who Sold the World. Only the singles from Diamond Dogs and Young Americans. Nothing from the “Berlin” trilogy except “Heroes,” “Be My Wife” and “Sound and Vision” (& the latter likely wouldn’t have made the cut but for being the tour’s theme song). Only the Top 10 hits from the Eighties, with Bowie pretending, as perhaps some of his audience did, that he’d made no music after Tonight, except for the newly-released “Pretty Pink Rose,” which was a sop to Belew.
Bowie seemed ambivalent to singing some of the hits again. He told Paul du Noyer that he had no problem revisiting some of them, like the Station to Station material, but songs like “Rebel Rebel” (“written for a particular generation“) had no relevance to him anymore and he felt odd singing them. “I find I’m throwing them away a bit. I hope it doesn’t show.” He cut “John, I’m Only Dancing,” another faded generational manifesto, from setlists by the end of the first run of British shows.
The band was Bowie on rhythm guitar and occasional saxophone, Belew on lead guitar, the ever-ready Erdal Kizilcay on bass, and, from Belew’s group, Rick Fox on synthesizers/keyboards and Michael Hodges on drums. There was a clear hierarchy—Belew and Bowie were the stars, the rest of the band was backup (literally, as the band played behind the projection screen for much of the show)—and it grated. The backstage mood could be sour at times (“[Bowie] wasn’t very happy on that tour. Something wasn’t working. It was a weird atmosphere,” Kizilcay told Marc Spitz). Fox eventually checked out. His main job was to monitor the samplers and sequencers and ensure they were in sync with the performances, so he took to eating his dinner while at the keyboard, and was once found (according to Belew) listening to the Beatles on headphones during a concert.
Kizilcay said he found the inclusion of a Labatt’s ad midway through the Canadian sets (Labatt’s was a tour sponsor) to be crass and that it spoiled the crowd’s mood. Once Bowie blew up when Kizilcay mistook a Bowie hand gesture and rushed forward on stage to start dancing, which allegedly threw Bowie off enough to make him miss a vocal cue (the best recollection of the argument has Bowie screaming backstage and hurling his puffy shirt at Kizilcay: “take it, Erdal! take it and sing in my place!”). The tour was draining, with Bowie losing his voice at times (a fan who attended the Modena show in September recalled Bowie balking at playing “Station to Station,” killing the song after a few bars, then starting “Fame” in rough voice, throwing away his guitar and groaning “fucking nightmare!” into the mike).
Even the genial Belew could be frustrated with the sound and the performances. With so much of the music programmed (“Young Americans” was built on lots of samples and backing tapes, from the saxophone to the vocals), there was little room for improvisation. “Stay,” the funk centerpiece of the 1976 and 1978 tours, sounded anemic compared to its predecessors.
Still, the “Sound + Vision” shows were generally strong, the performances tight, and the tour remains the last time that Bowie fully gave the people what they wanted. The concerts served as a collective goodbye—a singer divesting himself of his past, casting it out to a crowd each night. The crowd watched enormous video projections of the singer, while at times ignoring the man standing underneath his giant reflection. It was an extended disappearing act.
“Sound + Vision” was tightly choreographed—one critic recalled noting a roadie standing offstage whose apparent job it was to light a cigarette for Bowie at a precise moment. Only in a few places per show, most often “Jean Genie,” did Bowie apparently indulge his whims. Often playing “Genie” as an encore, Bowie and Belew would extend the song out over ten minutes and throw in covers during the middle of it. Bowie had done that with “Jean Genie” years before, stuffing it with “Love Me Do” during his last performance as Ziggy Stardust. Now he threw in a variety of old favorites—pieces of Dylan’s “A Hard Rain’s a Gonna-Fall,” Them’s “Baby Please Don’t Go” and “Gloria” (the latter performed with Bono one night), “Maria” from West Side Story, “Heartbreak Hotel,” “Baby What Do You Want Me to Do,” “I Am a Rock,” Parliament’s “(Not Just) Knee Deep” (tragically unbootlegged), Johnny Cash’s “I Walk the Line.”
And on 21 May 1990, playing at the Tacoma Dome near Seattle, Bowie offered Red Kelly‘s “You and I and George.” Likely only a handful of people in the crowd knew that Bowie was paying homage to a local hero. Kelly was a Seattle shipyard welder who taught himself to play bass during World War II, assuming correctly that there was a shortage of bassists (though there’s always a shortage of bassists). He played with Stan Kenton, Woody Herman, Red Norvo, Charlie Parker at Birdland (he recalled Parker hugged him one night “so it must have been okay”). Kelly had retired to Tacoma: only the year before Bowie’s performance, Kelly had run for mayor on a platform of bringing back cable cars to Tacoma and starting up riverboat gambling. He got 10% of the vote.
Kelly wrote “You and I and George” in the late Fifties, when he was playing with the Kenton Orchestra, and the song was immortalized on the 1959 concert LP Kenton at the Tropicana. There Kelly, shuffling up to the mike and speaking in a doleful voice, offered what would become the song’s founding joke: that it was written by someone else, who preferred to remain anonymous as the song was so lousy. (The joke was too good—“George” has been described as a “traditional” song in several Bowie resources.) The distinguished bluesman Rowlf, playing “George” on The Muppet Show in 1977, said that the song only sold two copies: “I bought one and George bought one. Where were you?” In Kelly’s words, “George” was the product of a hungover songwriter who’d finally realized that people didn’t care about lyrics. It was just one sad verse: a trio walks along a brook, George falls in and drowns himself, the girl/guy winds up with the singer, who’s obviously his/her second-best choice.
Bowie honored the tradition: “You boo it when you’re fed up with it!” he told the crowd (see again Rowlf: “my own mother turns down her hearing aid when she hears this song!“). But in its few public incarnations, “George” had a small mordant beauty; it’s a sap’s love song. And Bowie’s vocal that night in Tacoma, somber and even mournful, seems in part a burlesque of his performance of “The Drowned Girl.” He sang “George” once more at the Bridge Benefit Concert in 1996.
The tour ended tensely, with some police aggression affecting the final South American shows (Bowie was playing Chile when Pinochet had only just relinquished power and was still commander in chief, while Argentina had had a spell of government-toppling riots in 1989). Bowie and Belew parted ways, Bowie promising to give Belew a call soon for further work (Belew told Paul Trynka in the late 2000s that he was still waiting for the call!). A few days after the last show in Argentina, Bowie went on a “blind” date with Iman Abdulmajid, who he’d met a few times backstage during the tour. He would marry her within two years; his next solo record would be a shrine to her. But first there was the Machine to put to rest…
Bowie’s “George” was recorded 21 May 1990, Tacoma, Washington (unreleased).
* Bowie had intended to use the dance troupe La La Human Steps but as the scheduling didn’t work out, he instead used video clips of lead dancer Louise Le Cavalier.
** Only about 20 of my picks (the obvious indie ones) made the People’s 200.
*** Cue the very, very shopworn anecdote about the NME trying to rig the poll by pushing for “The Laughing Gnome.”
Top to bottom: various photos and souvenirs from the 1990 tour, with the top photo coming from the show that I attended, Hartford, 23 July 1990 (it’s by Bonnie Powell). Most are from the essential Teenage Wildlife.