David Bowie 'Absolute Beginners'

Chart Peak: 2

YouTube

Bowie not only had a No. 2 hit in March 1986 with 'Absolute Beginners' but also played the part of Vendice Partners in the film.

It probably seemed like a good idea at the time. OK, I admit I've never actually seen the film of Absolute Beginners, but nobody seems to have a good word for it; not even Paul Weller who was such a big fan of the book he named one of his own songs after it and crops up on the film soundtrack as a member of the Style Council. Nonetheless the title song gig went to Bowie, who makes his last Now! appearance towards the end of his eighties commercial revival. As it turns out he only had one more Top 10 single to come (1993's 'Jump They Say') but this followed his chart-topping charity duet with Mick Jagger - indeed both tracks come from the same session, but this had to be held back to match the film release date.

A big hit then, and given the response to the film presumably on its own merits, but I have to admit I've never been a huge fans of this track. It's full of good ideas and romantic intent but somehow between producers Langer & Winstanley (a few years on from their best work with Madness et al) and the group of session musicians assembled, all the life seems to have been sucked out and it's a ponderous thing; even the 7" edit featured here clocks in at 5:37 and the full-length version will take up more than eight minutes of your time. It's all well done and not as bad as I believe the film is, but far from his best work of even the decade.

Also appearing on: Now 2, 5 (with Pat Metheney Group)
Available on: The Best Of 1980/1987

David Bowie (with the Pat Metheny Group) 'This Is Not America'

Chart Peak: 14

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Yes, this track is from The Falcon And The Snowman, which I've never really heard of outside the context of this song. Somehow I'd always assumed it would be a cartoon or something, but I learn now it's actually about a couple of men spying for the USSR. I suppose that explains why they got an experimental jazz fusion band to do the soundtrack, and why they'd have conjured such a bleak atmosphere. It also gives me a hint of what Bowie's lyric might actually be about, although I presume it'd make more sense over the closing credits.

Be that as it may, on the single, or on the Best Of Bowie album where I first heard it, the song has to stand on its own merit and in that context it's still rather good. Not the sort of thing I'd have been able to get my head around when I was seven (if I ever did hear it then, I didn't notice) but it seems most effective to me now as a sort of soundscape. That synthesised horn sound that decorates some of the choruses seems very lonely and Bowie's singing is well-judged, if a little stagey. Perhaps that artificial element is even a help, because it helps add to the mood of isolation; in fact, I might almost go so far as to say that this saves me the effort of seeing the film, because I think I can understand the central character's motivation. Perhaps that wasn't the desired effect, but never mind.

Also appearing on: Now 2, 7
Available on: Platinum Collection

David Bowie 'Modern Love'

Chart Peak: 2

YouTube

Squint closely enough at the image there and you might be able to tell that Side 4 isn't in terribly good condition. Luckily, it's also the side I already owned the most of, so I could review this one through my copy of Best Of Bowie: a particular advantage in this case, because that video really does it no favours.

'Let's Dance' was one of the 1983 chart-toppers most conspicuously absent from Now 1, it being on EMI and all. One can only surmise that Bowie was reluctant to licence the track, but on seeing the sales of that he was only too happy to supply a track to the follow up. 'Modern Love' is a slightly edited version of the opening track from the Let's Dance album and his second consecutive single to peak at 2 (after 'China Girl'). Indeed, it was denied the top position by 'Karma Chameleon' back in October 1983, making it the least topical track on this album.

It goes without saying that we're a some way from the material on which Bowie's reputation is built. Although there's supposed to be a serious theme here ("God and Man", obviously), nothing is really very explicit and Bowie is obviously playing up to the pop audience here... but if you're expecting me to dismiss it on those grounds, I have to admit that it's a record I've always enjoyed. Bowie beats many of the 80s pop stars at their own game, with a performance funkier and more soulful than much of the rest of this set despite the lack of emotion in the material. Nile Rodgers supplies a dated but punchy production and there's a good swing to the whole recording. It's not a classic, but at least it's not 'China Girl'.

Also appearing on: Now 5 (with Pat Metheney Group), 7
Available on: Best of Bowie