The Guitarists of David Bowie- from Space Oddity to Diamond Dogs
Space Oddity, normally regarded as David’s first proper album post Deram featured two guitarists over and beyond David’s contribution.
In 1969 Keith Christmas had recorded his first album ‘Stimulus’ in Chelsea, London .
That same year because of the gigs he played as the main act at the Beckenham Arts Lab, then run by Bowie, he was asked to play the acoustic guitar on David’s first album ‘Space Oddity’. He played his Fender Palomino Acoustic guitar, while David played his 12-string on Letter to Hermione, God Knows I’m Good and Occasional Dream
That year Christmas was asked by Michael Eavis to appear the Glastonbury Festival and went on to support The Who, King Crimson ,Ten Years After, Argent, Captain Beefheart, Frank Zappa, The Kinks and Roxy Music’s .
The album has a distinctly folk feel, and Christmas helped with that vibe, but what is also significant when you look at Christmas’s subsequent support work is the distinguished circles he was moving in. Bowie had an eye, and ear, for talent right from the start.
With Visconti producing, Bowie recruited the Junior’s Eyes band – guitarists Wayne and Tim Renwick, bassist John Lodge and drummer John Cambridge (but without vocalist Graham Kelly) – as the main backing band for the sessions.
Renwick’s most distinguished work came with Sutherland Brother & Quiver s and Al Stewart. He also did session work for Elton John, Procol Harum, Andy Gibb, Mike Oldfield, Gary Brooker, Roger Waters, Eric Clapton, China Crisis, and Pink Floyd.
Once again it is a formidable roster of talent.
Recommended listening for anyone wishing to explore Renwick’s talent further is his work on Al Stewart’s hit album “Year of the Cat”
Space oddity is an album rarely explored, mainly because it is his oldest mainstream album for those working backwards through his back catalogue. But it has numerous gems, beyond the title track ( which Visconti allegedly disliked outsourcing the production work to Gus Dudgeon of subsequent renown for his work with Elton John. Strands from Donovan, Simon and Garfunkel and Dylan are all present. “Letter to Hermione” is beautiful folk, “Janine” rock and “Cygnet Committee” is as obtuse as “Stairway to heaven”.
Superficially the album can be dismissed as a bit of an incoherent mish mash of styles. But for me the talent that Visconti and the likes of Renwick and Christmas brought to the studio should not be underestimated in the quality of the individual tracks.
The defining guitar track is : “Letter to Hermione”, exquisitely arranged, a soulful vocal with an acoustic guitar backing which is painfully beautiful.
The Man Who Sold the World
This is the album which introduced Mick Ronson to the world. Visconti and David himself are also given guitar credits, but this is Ronson’s album as the axe man.
The defining guitar track: announcing Ronson’s arrival is “Width of a Circle” which became a firm live favourite immediately and remained ever present in the live set for the remainder the Spider’s existence.
Yet although Ronson’s wailing lead guitar lines from “Circle” are what stay in the mind, his haunting rhythm guitar on “After All”, and memorable signature guitar motif on “Man Who Sold the World” are no less important.
The first Spiders album, with Bowie and Ronson credited with guitars.
The folk rock influences are still strong, not least obviously with “A Song for Bob Dylan”, but also with the fey, sentimental, “Kooks”.
The defining guitar track: is “Life on Mars”, Ronson’s tour de force, not only for his lead guitar lines, but also for his arrangement and strings parts.
David on acoustic, Ronson on electric
The moment when Mick Ronson came to national and international prominence.
The defining guitar track: Is it “Moonage Daydream” with its infamous live guitar fellatio visuals,( my favourite Ziggy song)? The “call to arms “chords of the title track? The Rolling Stonesesque bar room boogie of “ Suffragette City” ( turned down by Ian Hunter for Mott the Hoople ) ? I would argue that it is the simple acoustic guitar of David and the fluid lines, with signature guitar motif, of “Starman”, not musically, but visually. This was the song which impacted a teenage audience. Pretty boy Ronson with his long blonde hair flanked by the other worldly David with his arm draped over Mick’s shoulder like girlfriend and boyfriend. Every playground was talking about it on Friday morning… It was the moment when Ronson and Bowie became a recognisable collective visual identity. How happy David was with the way that played out is another matter…
“When the kids had killed the man I had to break up the band”
With Bowie on acoustic and Ronson on electric again. An album this time defined not by guitars, but by the arrival of Mike Garson on keyboards.
Defining guitar track: Hitherto Ronson had been Bowie’s on stage axe man and side man. Here he makes an astonishing musical contribution playing flamenco style guitar on “Lady grinning Soul”, a song so musically and vocally demanding that Bowie never played it live. Third parties have suggested that the part was played by a session guitarist. But no-one close to the recordings has ever substantiated that, I am happy to acknowledge the recording as testimony to Ronson’s unquestionable musical talents. On Steve Harley’s smash hit “Come up and see me” there is an acoustic guitar break for the middle eight which is similar in feel. Harley neither wrote nor played it, Jim Cregan was drafted to compose and perform ir, the end recording being a composite of three takes, a testimony to how hard Ronson’s guitar part is.
Otherwise; Jean Genie endures, the riff was immediately exploited again by The Sweet on “Blockbuster”. On stage I heard Bowie credit John Lee hooker with inspiring the guitar hook. Not only does Bowie cover the Stones’ “Lets Spend the Night together” he then uses them as the musical inspiration for his own,“Watch that Man”. The glorious funk of “Panic in Detroit” , which was always immeasurably greater live and exquisitely extended , is later revisited on “Stay” from Station to Station”
In my view a much maligned album, and Ronson ( and the Spiders’) swansong.
The covers are all competently, and satisfyingly played, albeit unremarkably. Two Who songs, “Cant Explain” and “Anyway, anyhow, anywhere” are played, but Ronson chooses to leave the Townsend legacy untouched.
Defining Guitar track: “Rosalyn” by the Pretty things, Ronson’s distorted electric guitar is glorious.
But the standout track on the album features saxophone, not guitar, played by Bowie himself on the big hit single “Sorrow”. I am sure unintentionally, it was a statement that although Bowie was saying farewell to the band, he would prosper without them.
The music gossip scene was awash with rumour as to whom David would choose to take on Ronson’s guitar duties. With Bowie’s Rolling Stones love in at its height, Ron Wood’s name consistently came to the fore. But all the speculation was wrong, as David chose himself.
He also produced the album himself With Scott’s departure, Bowie produced the album himself. But the Stones connection was never far away with his choice of engineer in Keith Harwood, who had worked previously with the Rolling Stones on numerous sessions, and on Led Zeppelin’s Houses of the Holy, handled engineering duties. Previously they had collaborated on Mott the Hoople’s All the Young Dudes and the original version of “John, I’m Only Dancing”. If you were curious as to where the dirty Stones style guitar sound came from there is your answer. And it is almost as if Keith and Ron are there, chugging away on “Diamond Dogs, the song.
It would be easy to assume that David would elect to have the guitars mixed low and placed deep in the rhythm track. Not a bit of it. Instead, the album produces not only one of his greatest signature guitar riffs, but one of popular music’s most identifiable in “Rebel Rebel”.
Bowie is the only credited guitarist apart from on 1984, in which Alan Parker receives a credit. That does not do Parker justice. Informally he is credited with “tidying up” “Rebel Rebel” and playing on it, and his signature “Shaft” style “Doo wah” effects on 1984 make the song.
This is not entirely surprising. Parker was trained by Julian Bream at London’s Royal Academy of Music and had a successful career as session guitarist starting in the late 1960s, with Blue Mink (Melting Pot) and CCS. He was the electric guitarist on Donovan’s “Hurdy Gurdy Man”, the Walker Brothers’ “No regrets” and the Top of the Pops theme music version of “Whole Lotta Love”.
Defining Guitar track: “Rebel Rebel” obviously, a signature riff, meets a cultural manifesto.
And that concludes this first instalment. “ Diamond Dogs” represents the natural break point , sans the Spiders, beyond which lies Alomar, Slick, Heydon, Fripp and many more beyond. But that is for another day, if people want it.
The Guitarists of David Bowie- from Young Americans to the Isolar 1 Tour
Two albums had elapsed since David’s last original album. “Pin Ups” provided a neutral coda to the Spiders and Ronson, “Diamond Dogs” had eschewed the need for any hired axe man. The new album inspired by Philly soul, offered no early clue as to who would be on guitars.
Young Americans recorded aug 74- jan 75
Credited guitarists: Bowie, Carlos Alomar, John Lennon and Earl Slick
The Diamond Dogs tour only ever played America. Hip NYC gunslinger Earl Slick had made a name for himself with Mack Truck as a hot bar room guitarist and was called in to take lead guitar duties for the 74 tour. His versatility was immediately apparent and he was the default choice to join Carlos Alomar to record Young Americans whom had previously also been courted for the tour, which he subsequently joined for the second leg.
Alomar’s credentials to deliver a white/plastic soul album were impeccable. The son of a Pentecostal minister, Alomar was raised in New York. He had performed during “Amateur Hour” at the Apollo Theatre, eventually joining the house band, backing Chuck Berry and many leading soul artists including James Brown and Ben E King. In 1969 Alomar formed a group called Listen My Brother with vocalists Luther Vandross, Fonzi Thornton (later to work with Chic offering a Nile Rodgers connection), and Robin Clark. Alomar met Bowie when Lulu was recording “Can You Hear Me” at Sigma Sound .
Defining Guitar track; “Fascination” funky, playful, soulful. A reworking of a Luther Vandross original song “Funky Music is a part of me” which he used to play as part of Mike Garson’s band. With Alomar at the helm musically this is bona fide credible soul.
Did some good work with the Beatles, but George Harrison was the better guitarist.
The only low point is John Lennon’s contribution on guitar and vocals with “Across the Universe” which has no redeeming features. A song ironically only included by the record company to boost sales with the Lennon / Beatles connection, and originally only recorded as a late night coked out jam.
Station to Station recorded sept Nov 75
The album which brought mainstream Bowie fans back on board. A conventional collection with Credited guitarists -Alomar and Slick alongside Bowie
Defining Guitar track– “Station to station” all howling guitars, wailing feedback and driving rhythms. “Stay”, on which Ron Wood was rumoured to have contributed, never confirmed, runs it a very close second.
It is the variety of the guitar work which distinguishes this album. The acoustic guitars on “Wild is the Wind” are lush, beautiful and were praised by Frank Sinatra, “Stay”, , runs it a very close second, but as it is, is Slicks’ finest hour, “Alomar’s” work on “Golden years” could only have come from a man steeped in Soul Revues, although Slick claims the credit for the signature guitar motif.
The Isolar 1 Tour
The Spiders had been much loved, with Ronson seemingly the indispensable studio side man. His three subsequent post Spiders original albums had buried the idea of Ronson’s musical indispensability, Bowie grew without him and benefited from alternative collaborations, but his place on stage as David’s axe man and visual foil was another matter. On the Station to Station album Earl Slick had proved to be a musical upgrade, and he looked the part- but was unavailable for the tour after a row over money and the departure of Michael Lippman who also manged Slick, with the unknown Stacy Heydon getting the gig, a man who auditioned once, had only ever left Canada once, and didn’t know a single Bowie song , let alone the guitar parts. After successfully auditioning he was given a cassette player and tape for an afternoon with the tour set list. The first full band rehearsal was the following day. Bowie insisted on his set up including a Maestro Phase Shifter. hooked up, unusually to THREE 100 watt Marshall heads! Heydon asked Bowie whether David wanted a note for note reproduction of the album guitar solos, but was told no, and to “be himself”.
He had sacked manager Michael Lippman at the end of 1975 for failing to organise accommodation and a welcome when he arrived in New Orleans, Lippman’s defence was that Bowie had been uncontactable for weeks. Roy Bittan had left before rehearsals began to return to the E Street Band leaving tour manager Eric Barret to track down ex Yes keyboard player Tony Kaye with whom he had worked before to fill in . Barrett also peeled Heydon’s name out of his contact files as “a good guitar player”!
Heydon was terrific on the tour, his “Suffragette City” was the best version I have ever seen, but was out of sync for the new “Low” and “Heroes” material resulting in his stay being a short, if very, creditable one.
Here we take a break before the frenetic creative years of Eno and Fripp, The Berlin Albums to Scary Monsters.
The Guitarists of David Bowie- from the Berlin Albums to Scary Monsters
The Berlin Albums
For the purposes of this piece I am going to wrap Low, Heroes, The Idiot , Lust for Life and Lodger together. Although I would argue that Lodger is not a Berlin album at all, it keeps some Bowiephiles happy. I include the recording dates as evidence of Bowie’s amazing productivity at the time and to give a sense of how these albums are linked.
Low ( recorded sept-oct 76)
For the first time Bowie has no guitar credits which are instead shared by Alomar and Ricky Gardiner who themselves share lead guitar duties.
Ricky Gardiner appeared out of nowhere to appear on this album, but was an eccentric and distinguished presence on the progressive music scene.
Ricky Gardiner, a Glaswegian Scot, was only a year younger than Bowie and as a child learned operatic arias note for note. In 1969: Ricky formed Beggars Opera, a progressive rock band who toured the UK and Europe extensively and were signed to Vertigo Records recording four albums.
In 1976, while working on “Low” Ricky met Iggy Pop. Thus in 1977: Ricky went to Berlin for rehearsals with David Bowie and Iggy Pop. They were joined by Hunt and Tony Sales and toured the UK and USA to promote Iggy’s Idiot album. Following this tour the band returned to Berlin and recorded the “ Lust for Life” album. Ricky wrote The Passenger with Iggy Pop, and Neighbourhood Threat and Success with Iggy Pop and David Bowie. Family commitments prevented him from joining that tour ending his association with Bowie and Pop. But Eno engendered an interest in computers in music which influenced all of Gardiners’ subsequent musical work
Defining Guitar Track: “Be My Wife” with lead guitar lines eerily similar to Fripp’s work on “Heroes”, does Eno have a hand ( or ear on) in this?
But as with so much on this album the guitar sounds were so other worldly, and non rock n roll, that they spawned a myriad musical imitators and imitations, some good, some bad. Joy Division and Gary Numan were obvious disciples.
The Idiot ( recorded June – aug 76)
Credited Guitarists-Carlos Alomar and Phil Palmer alongside Bowie
Palmer is a nephew to Ray and Dave Davies of Kinks fame. He went on to have a stellar career working and touring with the likes of Eric Clapton, Bob Dylan, Dire Straits / Mark Knopfler, Tina Turner George Michael and Robbie Williams and Trevor Horn
Defining Guitar Track- “China Girl”, raw and raunchy lead guitar, a million miles removed from Nile Rodgers fey, effete interpretation on “Lets Dance”.
The entire album is a rock n roll tour de force.
Lust for Life recorded May-June 77
Credited Guitarists; Bowie, Ricky Gardiner, Carlos Alomar, Tony Fox Sales , guitar (“Fall in Love with Me”)
Tony Sales of Todd Rungren’s Utopia fame played bass on the album but for some reason also played guitar on “Fall in Love With me”. Sales had children with Taryn Power who was the daughter of Hollywood film star Tyrone Power.
Defining Guitar track: “The Passenger”, composed by Gardiner who was made rich by the ( very good) cover by Siouxsie & The Banshees and its ubiquitous use in advertising there after.
The album is packed with great songs, the title track, is much sampled, Bowie revisited “Neighbourhood Threat and “Tonight” on his subsequent album “Tonight”.
Heroes recorded July- Aug 77
Credited Guitarists; Bowie, R Carlos Alomar, Robert Fripp
Fripp was the guitarist, founder and longest-lasting member of the progressive rock band King Crimson creating several genre defining songs including ,”2!st Century Schizoid Man “ and “In the Court of the Crimson King”. He also worked extensively as a session musician and collaborator, notably with Blondie, Brian Eno, Peter Gabriel, Daryl Hall, Midge Ure, Talking Heads, and David Sylvian.
Defining Guitar Track: “Heroes”: Brian Eno remembers:” Robert arrived one evening from New York and we played him one unfinished song after another. There were no chord sheets and indeed no indications of song-structure at all. He reacted to each song with little or no direction from anybody else in the studio – and in each case discovered parts and moods that really were not implicit in the music. David, Tony (Visconti – the producer) and myself watched in awe – I think we were all dazzled. Nobody else would have come up with what he brought to the project. The title song of the HEROES album is a case in point: the guitar motif that underlies the whole song ( – and which is integral enough to its identity to be quoted in every other version of it I’ve heard) was entirely Robert’s invention. Without doubt much of the character of that song grows directly out of those elegant and unusual guitar parts, which in turn came directly from Robert’s imagination. The same is true of all his contributions on that record.”
“Heroes” now dwarfs everything else on the album which is full of gems. From a guitar point of view “Blackout” is terrific, and was a star turn live on the Isolar 2 tour, but rarely played live thereafter.
Lodger recorded in 78/79, released 79
Credited Guitarists: Bowie, Alomar, Tony Visconti and Adrian Belew
A multi-instrumentalist, Belew was a recommendation of musician/producer Brian Eno. After seeing a Zappa concert in Cologne, Germany, Bowie offered to hire Belew once the Zappa tour was finished. Belew then played on Bowie’s Isolar II Tour in 1978 before recording on Lodger, then touring again with him a decade later on the Sound and Vision tour. Belew was an unconventional side man on stage, the visual and stylistic antithesis of Ronson and Slick, wholly in keeping with Frank Zappa’s more quirky approach. It was an approach which served him well with sojourns in both Talking Heads and the Tom Tom Club, the latter of whom tired of his predilection for distorted guitar solos. Curiously he then went on to work alongside Robert Fripp in King Crimson for a very long time from 1981 to 2013.
His work with Bowie is showcased on the live Stage (1978) album of the Isolar 2 tour. Surprisingly his most memorable contribution is a mellifluous solo on “Soul Love”
Visconti’s work, as usual was primarily producing, engineering and mixing, but here he is also credited with guitar on “Boys Keep Swinging” and “Repetition” wholly in keeping with the fractured whole of the album.
Defining guitar track: “Look Back in Anger” a maelstrom of swirling guitar, with a fine lead solo from Alomar. In summer 1988 Bowie recorded a new heavier version with Reeves Gabrels on lead guitar, Kevin Armstrong on rhythm guitar, and Erdal Kizilcay on bass and drums; it was the first arrangement Bowie and Gabrels collaborated on, taking place shortly before the formation of the band Tin Machine.The recording was issued as a bonus track on the Rykodisc release of Lodger in 1991.
Live, Belew was never able to emulate the sinuous grandeur of Fripp’s recorded work, on “Lodger” his experimental style sets the album apart from pretty much everything else, let alone “Low” and “Heroes”.
Scary Monsters recorded feb-april 1980 released sept 80
Credited guitarists: Bowie, Alomar, Visconti, Townshend, Robert Fripp and Chuck Hammer
Probably Bowie’s most impressive array of guitar talent for any album. Visconti adds a bit of acoustic on “Scary Monsters (And Super Creeps)” and “Up the Hill Backwards”), Townshend adds trademark guitar licks to “Because You’re Young”, a neat coda to Bowie covering “I Can’t Explain” and “Anywhere, Anyhow, Anytime” on Pin Ups.
But it is Robert Fripp who once again steals the show, as he did on “Heroes”, with his contributions on “Fashion”, “It’s No Game”, “Scary Monsters (And Super Creeps)”, “Kingdom Come”, “Up the Hill Backwards”, and “Teenage Wildlife”. This is very much a Bowie and Fripp album
Chuck Hammer is an American guitarist and soundtrack composer, best known for his textural guitar work with Lou Reed, David Bowie, and Guitarchitecture. He is also a leading NYC based soundtrack composer, having scored approximately 300 documentary films.
He recorded guitar-synth tracks with David including multiple textures across “Ashes to Ashes” and “Teenage Wildlife”, both of which marked the earliest use of guitar-synth in Bowie’s catalogue. The actual instruments utilized on these tracks included a Roland GR-500 with Eventide Harmonizer and multiple analogue tape delays. These recordings were ground – breaking.
Indeed “Ashes to Ashes” is so complex in its arrangement that live, Gail Ann Dorsey routinely swapped bass for guitar during performances.
Textural tracks such as “Ashes to Ashes” and “Teenage Wildlife” exhibited a highly experimental multi-layered, approach to recording and composing with the guitar. Hammer’s recordings with David represent one of the most influential and genre defining approaches to textural guitar layering. It opened the door to the textural guitar movement that followed.
The guitarist who didn’t quite make it: Tom Verlaine.
Verlaine’s work with Television had been stunning. It is rare that a band comes out with a new sound, but Verlaine had done that with Television. Inviting him to play guitar on his own composition “Kingdom Come” made a lot of sense. However when he arrived at the studios he took two days fiddling around with an array of amps that he had brought with him to achieve the right sound with no end product. At the end of day two Bowie gave up and asked Fripp to play lead instead- which he did very well. Studio time costs money. What the take would have sounded like with Verlaine’s guitar is a tantalising mystery.
Defining Guitar track: “Teenage Wildlife” absolutely made by Fripp’s guitar lines, and a musical tour de force, rarely performed live as it needed Fripp’s presence to make it work.
A brilliant album where the diverse guitar contributions coalesce in musical magnificence
Here we take a natural break before the commercial Nile Rodgers driven juggernaut of “Lets Dance” leads up to Tin Machine, which is for another day.
The Guitarists of David Bowie- from Lets Dance to Tin Machine
Lets dance 1983
Bowie, or more precisely, Nile Rodgers, goes pop. The choice of Vaughan as the featured guitarist is, and was, odd. He was a rising star as a blues guitarist who went on to have considerable success prior to his premature death, but Michael Landau who had played on the original “Cat people” would have been the more sympathetic choice to the overall sound. Nonetheless the association with Vaughan was paydirt for both Bowie and Vaughan whose career was propelled by his work on the album
Credited guitarists Stevie ray Vaughan/ Nile Rodgers
Crucially, no Alomar, which must have hit him financially hard.
The guitar sound of NY disco as expounded by Chic, a man who could spot a hit tune and riff at a thousand paces, and a Studio 54 regular with his ears, and feet, close to the ground of what was hot. Producer to the superstars, and soon to be superstars.
Stevie Ray Vaughan
guitarist, singer, songwriter, and record producer, best known as the guitarist and frontman of the blues rock trio Stevie Ray Vaughan and Double Trouble. His mainstream career only spanned seven years, and he owed his career to Bowie spotting him at Montreux.
In 1972 he began t playing gigs on the local club circuit. Vaughan joined forces with Tommy Shannon on bass and Chris Layton on drums as Double Trouble in 1978 and established it as part of the Austin, music scene; it soon became one of the most popular acts in Texas. He performed at the Montreux Jazz Festival in 1982, where Bowie saw him play. Bowie contacted him for a studio gig which resulted in Vaughan playing blues guitar on the album Let’s Dance (1983), before being discovered by John Hammond who interested major label Epic Records in signing Vaughan and his band to a record deal. Vaughan died in a helicopter crash in 1990.
Defining Guitar track – “Let’s Dance” simply because it is so well known and so identifiable as Vaughan’s work.
My personal preference is for “Cat people” which is complicated by there being three versions. The first is the original with producer Georgio Moroder on guitar alongside Michael Landau and Sylvester Levay.
Michael Landau was a session superstar whom I saw touring with Boz Scaggs. He cites his influences as The Beatles, Jimi Hendrix, Led Zeppelin, Cream, The Band, Weather Report, Pat Martino, and Jaco Pastorius. And used an unique guitar rack switching system as favoured by Steve Lukather and Eddie Van Halen. He was synonymous with the LA Sound playing on many of the hit records made there in the 80’s and 90’s. he played with Joni Mitchell, Rod Stewart, Seal, Michael Jackson, Pink Floyd, Phil Collins on “Two Hearts” and “Loco in Acapulco”, Roger Daltrey, Stevie Nicks, Glenn Frey,, Whitney Houston, and Miles Davis.
The second is the Lets dance album cut with Stevie ray Vaughan/ Nile Rodgers
The third is the album version, remastered in 2018 as part of the Loving the Alien (1983–1988) box set.
Serious Moonlight tour 1984
Credited Guitarists, Bowie, Slick and Alomar
Defining Guitar Track: “Stay”- Slicky at his best, but with honourable mentions to “Star” and “White Light / White heat”.
Credited guitarists: Alomar, Bramble
Worked contemporaneously with Heatwave, Manhattan transfer, Jaki graham, Elaine Page and Whitney Houston, His guitar work on this album reflected that.
Defining guitar track: “Loving the Alien” with some soulful guitar and synthesiser, although to my ears this recording stops short of it becoming the all time classic it should have been.
After eschewing rock in the last album, Bowie now moves on to pop and soul courtesy of guitarist Derek bramble, and producer Hugh Padgham’s reputation as producer of current pop hitmakers including the Police, XTC and Human League and past work with Mott the Hoople. The revisits to “Tonight” and “Neighbourhood Threat” add nothing to the originals, although the quaint cod reggae guitar on “Don’t look back” is strangely endearing.
Live Aid Appearance 1985
Kevin Armstrong on guitar
A set list, and performance, that divides opinion. A cracking “Rebel Rebel”, but only Fripp can do Fripp on Heroes
Never let Me Down 1987
Credited Guitarists Frampton, McGinnis
Frampton and Bowie go back to the age of 12. whenFrampton played in a band called the Little Ravens. Both he and David Bowie, who was three years older, were pupils at Bromley Technical School where Frampton’s father was Bowie’s art instructor. The Little Ravens played on the same bill at school as Bowie’s band, George and the Dragons.Peter and David would spend lunch breaks together, playing Buddy Holly songs.
At the age of 14, Peter was playing with a band called the Trubeats followed by a band called the Preachers, who later became Moon’s Train, produced and managed by Bill Wyman of the Rolling Stones. In 1969 when Frampton was 18 years old, he joined with Steve Marriott of Small Faces to form Humble Pie.
He enjoyed stellar solo fame with “Frampton Comes Alive” and played on Bowie’s Glass Spider Tour.
Defining Guitar track: “Time Will crawl” one of Bowies’s best later years compositions.
Overall the album is a bit of a mess.
Best known for his work with the Tv channel CBS Orchestra.The Pittsburgh-born guitarist made his first appearance in the Late Night with David Letterman band in 1984 as a guest guitarist, and continued as a permanent guitarist with Letterman’s television shows until Letterman’s retirement.
McGinnis has also toured and/or recorded with numerous diverse artists including Warren Zevon, Ashford and Simpson, Barry Manilow, Peter Gabriel, Carly Simon, Dire Straits, Robert Fripp, The Sisters Of Mercy, Laurie Anderson, David Lee Roth, Bob Dylan,Leonard Cohen, Paul Simon, Simon & Garfunkel
Curiously it is McGinnis who appears to be the bigger influence on this album with Framptons’ undoubted talents largely underutilised.
Glass Spider Tour 1987
Credited guitarists, Bowie, Frampton and Alomar
Defining Guitar Song ; “Time will crawl” Peter’s enduring contribution to his collaboration with David
Bowie had always yearned to be in a guitar band akin to his favourites the Velvet Underground or The Stooges, and on this tour he played perennial live favourite “White light/ White Heat” and “ Now I wanna be your Dog”. Tin machine was only just around the corner…
Tin Machine 1 1989
Credited guitarists– Reeves Gabrels , Kevin Armstrong, David Bowie
Bowie and Gabrels had initially met through Gabrels’ then-wife Sara Terry, who was part of the press staff for the North American leg of Bowie’s 1987 Glass Spider world tour. The two men had struck up a friendship when Gabrels visited at several tour venues. Notably, their relationship began as a social one, as Gabrels didn’t mention that he himself was a musician. Common interests in popular culture and the visual arts provided more than enough to talk about, Gabrels explained in later interviews, and also because he was in his wife’s workplace, he felt it wasn’t appropriate to bring up his own music. At the tour’s end, Bowie asked Terry if he could do anything for her. In response, Terry gave Bowie a tape of Gabrels’ guitar playing. Months later, after listening to the tape, Bowie phoned Gabrels to invite him to get together to play and write. Bowie told him that he felt he had “lost his vision” and was looking for ways to get it back. After a month working together, Gabrels asked Bowie what he wanted of him, and, according to Gabrels, Bowie said “Basically, I need somebody that can do a combination of Beck, Hendrix, Belew and Fripp, with a little Stevie Ray Vaughan and Albert King thrown in. Then, when I’m not singing, you take the ball and do something with it, and when you hand the ball back to me, it might not even be the same ball.”
Kevin Armstrong is an English rock guitarist, record producer and songwriter, best known for his work with David , Iggy Pop and Morrissey.
Armstrong was signed by Charlie Gillett’s Oval Records in 1980 and formed the group Local Heroes going on tog record with Thomas Dolby on his first two albums The Golden Age of Wireless and The Flat Earth.
Armstrong took part in the recording of The Passions’third album, Sanctuary, produced by Mick Glossop. The first single from that album was “Jump for Joy”, which was released on 5 May 1982, followed by the album and the “Sanctuary” single on 18 September 1982.
Armstrong collaborated with David Bowie on the soundtrack for the film Absolute Beginners. He also played in the band for David Bowie’s Live Aid appearance in 1985 which included Dolby and recorded the song “Dancing In The Street” with Bowie and Mick Jagger.
He played guitar on the Iggy Pop 1986 album Blah Blah Blah and was musical director for Iggy Pop’s world tour in 1986/87.
Armstrong joined Steve Nieve’s band for the Jonathan Ross Channel 4 chat show The Last Resort for two seasons in 1989, accompanying Paul McCartney
In 1989 David Bowie asked Armstrong to join Tin Machine as the fifth member after he played on the debut album recorded in Switzerland and the Bahamas.
In 1992 he co-wrote the title track of David Bowie’s Outside album, with Bowie.
Defining Guitar Track – “I cant read” a five-minute number toward the beginning of the record with deliberately out-of-tune guitars and half-hearted vocals.
Some claim that this album is the Godfather of Grunge. I disagree, it is where Bowie is able to live out his Velvet Underground/ Iggy and the stooges fantasy. It is notable for a terrific cover of “Working Class Hero”.
Sound and vision tour 1990
With Reeves Gabrels declining lead guitar, Adrian Belew was recalled playing alongside only Bowie on uitar in a tight five piece.
Defining Guitar track: “Modern Love” energetically performed in a greatest hits set.
Tin Machine 2 1991
Credited guitarists- Reeves Gabrels , Kevin Armstrong, David Bowie
Same guitar combination, less grungey sound, less focus with 13 songs on the album from a reputed thirty plus recorded, the balance due for a Tin Machine 3 which never came
Reeves Gabrels work is distinctive, playing long textural notes that shift in pitch, volume and intensity, and are not on the beat, and provide no signature motifs. “If there is Something” is stripped bare, cold and soulless. Bryan would not be pleased.
Which provides another natural break, beyond which lies the return of Mick Ronson, another two decades, and two of the best songs he has written…
The Guitarists of David Bowie- from Tin Machine 2 to Hours
My penultimate resume which takes us up to the 21st century. A fractious, contentious period of David’s writing and music., the guitar roster reflects that.
White tie Black noise 1993
Credited Guitarists -Nile Rodgers, Alomar, Reeves Gabrels, Mick Ronson, Tony Springer
Tony “Wild T” Springer is a Trinidadian/Canadian blues-rock guitarist who played with a number of reggae and calypso bands .
Trinidadian guitarist Tony Springer (credited as “Wild T” Springer) appears on a cover of Morrissey’s “I Know It’s Gonna Happen Someday”, which originally appeared on Your Arsenal. Bowie had met Springer in Canada during Tin Machine’s It’s My Life Tour and invited him to record. Bowie recalled that “he was an absolute delight”, comparing his guitar style to Jimi Hendrix.
Springer later moved to Canada, settling in Toronto and playing local clubs in a Jimi Hendrix tribute band. He joined Rough Trade in 1986 as the band was becoming less active; they broke up in 1988.
In 1990 Springer took on the stage name Wild T, and launched his own band, Wild T and the Spirit. In 1992 Wild T was nominated for a Juno award as most promising male vocalist. That sparked Springer to be invited to appear as a guest musician on this album Black Tie White Noise.
Hasn’t he popped up somewhere before? Sadly this is no Great Return. He appears only on a cover of Cream’s “I feel free” somewhat uneventfully. He died not long after the album was released.
Defining Guitar Track– “I Feel free” simply because it is Ronson’s last stand.
Stylistically the album is a mess with Rodger’s commercial instincts, which he was recruited for, locking horns with David’s desire to do his own thing as unleashed on Tin Machine. Includes a smattering of soul. The resulting incoherence is entirely predictable.
Buddha of Suburbia
Credited Guitarists -Bowie, Kizilcay, Kravitz
Kızılçay started working with David Bowie in the early 1980s, playing bass on a demo of Bowie’s 1983 single “Let’s Dance”, although he did not appear on the final recording. He is a multi-instrumentalist; and played every instrument except guitar on the song “Shades” on Iggy Pop’s album Blah Blah Blah (1986), which was co-produced and co-written by Bowie. Bowie biographer Chris O’Leary called Kızılçay a “godsend” for Bowie, as he allowed Bowie to “cut full studio demos without the bother of shipping in, and paying, lots of musicians.” Kızılçay and Bowie co-wrote the song “When the Wind Blows” for the 1986 film of the same name.[The two then co-wrote two songs for Bowie’s 1987 album Never Let Me Down: “Girls”; and “Too Dizzy”. For the album, Kızılçay played multiple instruments on virtually every song, including bass, drums, keyboards, organ, synthesizer, and violins. Kızılçay joined Bowie on the Glass Spider Tour in 1987 in support of Never Let Me Down, In 1988, Kızılçay, Reeves Gabrels, Bowie and Kevin Armstrong collaborated on a project for London’s Institute of Contemporary Arts (ICA) in which the four of them re-arranged Bowie’s 1979 song “Look Back in Anger”. Gabrels and Armstrong would join Bowie in 1989 in the band Tin Machine, a project that Kızılçay was not a part of. In 1990, Kızılçay joined Bowie during his Sound+Vision Tour.
Kizilcay and Bowie spent the middle of 1993 at Mountain Studios in Switzerland, taking about three weeks to write, record and mix the album, for which many of the songs Kızılçay was the sole instrumentalist. Kızılçay also received a producer’s credit on several songs from the album.It was the cheapest album he ever made.
In 1994, Kızılçay joined other musicians including Brian Eno, Reeves Gabrels, Carlos Alomar, Mike Garson and Sterling Campbell in the creation of Bowie’s album Outside (1995).
After 1995, the relationship between the two fell apart, with Kızılçay later saying that Bowie “changed his way of being with me at the end of the recording of Outside. I don’t even know why, for what reason.” Bowie removed “Too Dizzy” from later re-issues of Never Let Me Down. Kızılçay said he was upset, and said that “from now on I don’t think I would wish to work again with David Bowie.” After Bowie died in 2016, his 1987 album Never Let Me Down was re-engineered and partly re-recorded and released as Never Let Me Down 2018 (2018). Kızılçay was unhappy with the new song arrangements and threatened a lawsuit as a result.
The man who was catapulted to the stars, and then fell to earth again. An American singer-songwriter, record producer, multi-instrumentalist, and actor. His style incorporates elements of rock, blues, soul, R&B, funk, jazz, reggae, hard rock, psychedelic, pop, folk, and ballads .An inspired choice, with 1993 being the year of his global smash hit” “Are You Gonna Go My Way “
Defining Guitar track – “Buddha of Suburbia”, Lenny Kravitz
The album as a whole is not guitar based, with many of the songs almost incidental music, but is fascinating because in many respects it is an Kizilcay album.
The Brian Eno reunion.
Credited Guitarists, Bowie, Alomar, Gabrels, Tom Frish, Armstrong
The trusty Alomar returns alongside Bowie, as does the more esoteric Gabrels. The unknown Tom Frish provides additional guitar on “Strangers When We Meet”, and subsequently works on “Heathen”, the trusty Kevin Armstrong – additional guitar on “Thru’ These Architects Eyes” .
Defining Guitar track; “Halo Spaceboy” wonderful chaos from Gabrels with help, and reinvention, and a new verse, from the Pet Shop Boys in a subsequent remix and release. The album version is Nine Inch Nails versus The Doors, and is amongst his finest post Scary monsters songs.
The album, and guitar, is bitty and episodic.
Credited Guitarits; Bowie, Gabrels
Defining Guitar track; “Little Wonder” arena rock v electronica
Drum and bass and crazed Gabrels guitar solos ,often a combination of stitched together solos, predominate Some have this album leading the way, others have it following contemporary trends. My own view is that Gabrels was running out of ideas, and so was Bowie.
Credited Guitarists, Bowie, Gabrels, Plati on 12 string
Mark Plati was a New York–based musician, record producer, and songwriter, with a reputation of being at the top of his game. He had worked with , The Cure, Duncan Sheik, , Robbie Williams, Lou Reed, Fleetwood Mac, and Natalie Imbruglia. He knew what quality and commercial success sounded like.
Defining Guitar track: “Seven” for its restraint and sublime composition
An album which included the exquisite “Seven,” and serene “Thursdays Child,” alongside some pretty average material. I suspect that Plati’s role was to inject a bit of commercialism into proceedings and rein in Gabrels. The songs have not worn well beyond the above.
“Thursdays Child” is a fitting farewell to this section. The final instalment taking us to Blackstar follows.
The Guitarists of David Bowie from Heathen to Blackstar
Heathen reunited Bowie and Tony Visconti for the first time since 1980.
Credited Guitarists; Bowie, Visconti, Alomar, Pete Townshend, Gerry Leonard, David Torn, mark Plati, Garry Miller, Dave Grohl
Torn is an American guitarist, composer, and producer. Specialising in combining electronic and acoustic instruments and for his use of looping.
He contributed to recordings by k.d. lang, John Legend, Madonna, Tori Amos, Bill Bruford, David Sylvian, and Don Cherry.
Film scores are a significant part his work Friday Night Lights, Velvet Goldmine, Adaptation, The Big Lebowski, The Departed, Fur, The Hoax, Kalifornia, Traffic, Reversal of Fortune, Tibet, and Three Kings.
His credentials to work with Bowie were impeccable. I believe he plays a significant part in the feel of the album.
Miller was born in Kingston upon Hull, offering a Mick ronson connection. And is an English music producer, songwriter, arranger and multi-instrumenalist who worked for the London production house Stock Aitken Waterman as staff producer, mixer, and songwriter. His credits include Donna Summer, Lionel Richie, Kylie Minogue, Bananarama, and Simply Red. Here he produces and plays guitar on” Everyone Says ‘Hi’.
From Clontarf in Dublin, he worked as a tape operator in Lombard Sound studios in Dublin, where one job was recording a demo tape by a sixteen-year-old Sinéad O’Connor, where he got to see U2 and Phil Lynott at work. He then studied classical guitar for five years at the Municipal College of Music in Dublin, particularly interested in exploring the instrument’s harmonic possibilities. In 1989 he moved to Copenhagen, where he formed the band Hinterland with Donal Coughlan. Leonard handled guitars and production and Coughlan sang and played bass and keyboards, with writing duties shared by both. The band released an album with Island, Kissing the Roof of Heaven in 1990 and toured in Ireland, the UK, Germany and Switzerland. The last Hinterland release was an EP, Resurrect, in 1992.
In New York’s East Village he established himself as a solo performer, producer, and as a session player he recorded and toured, usually as lead guitarist, with Laurie Anderson, Cyndi Lauper, Avril Lavigne and Chris Botti, Suzanne Vega and Rufus Wainwright. He has worked on numerous film scores.
His pairing with Torn was inspired.
Plays on “I’ve been waiting For you” in a satisfying Neil Young cover with Grohl stamping his identity on the song. Grohl has long championed Rock’s greats with the Foo Fighters.
Defining Guitar track– “Slowburn” wonderfully augmented by some Townshend licks
An astonishing roster of talent.Visconti , Alomar, Plati and Townshend are back, Gerry Leonard and Dave Grohl add further lustre
The entire album feels more contented, the disparate guitar parts complimenting each other not parts in an experimental exercise. Few realissed that “I took a ride on a gemini Spaceship”, with some exquisite guitar parts ,was a cover of the Legendary Stardust Cowboy song.
Credited Guitarists-David Bowie ,Gerry Leonard, Earl Slick ,David Torn, Mark Plati,
The now trusted team on guitars
Defining Guitar Track – “New Killer Star”, a deceptive start before a kiler groove akin to “Diamond Dogs”
The inclusion of George Harrison’s “Try Some, Buy Some” is a surprising, but very welcome, inclusion
The Next Day2016
Credited Guitarists-David Bowie ,Gerry Leonard,Earl Slick ,David Torn, Visconti
Bowie knew who he wanted to work with, and the sound he wanted, now.
Defining Guitar track– “Dirty Boys”-, for Slick’s guitar.
“Where are we now” is poignant, doleful and reflective, “Boss of Me” is a good indicator as to where the collaboration with Leonard would have gone in the future.
Credited Guitarists – Bowie and Ben Monder
Monder is an American modern jazz guitaris, who trained on the violin and guitar and attended the Westchester Conservatory of Music, the University of Miami, and Queens College.
His record prior to working with Bowie was with a plethora of jazz musicians whom I have never heard of, and neither will you.
As of August, 2021 he is a member of the Minneapolis-based jazz quartet The Bad Plus.
Defining Guitar Track – none. Monder offers tasteful jazz guitar accompaniment. It is he sound of the saxophone which laces this album, not the guitar. The elegiac “I Cant give everything away” its most touching and affecting moment.