Diamonds Are Forever

Happy New Year.

Stardust Memories, 2016

So far so good. Last night I checked out the Savoy Soul Club--the premier soul night (a la Northern Soul) in the Capital Region. The other day we caught the movie La La Land-- one of the best films I have seen in some time... bring back the musical!

Speaking of music, WEXT will be re-airing my David Bowie tribute this Monday, January 9, at 11 p.m. ET. It's slotted one day after his birthdate and one day before the anniversary of his passing. I remember my dismay at hearing the news a year ago, and I have been thinking a lot about his musical influence ever since.

With this My Exit special, I tried to pick songs by the artist that had an immediate and lasting impact on me. I only had an hour, so I had to give it a good deal of thought (hard to narrow down). 

As I mention on the show, the first I remember being truly aware of him was during the Live Aid concert in 1985, performing with Mick Jagger in that silly "Dancing In The Street" video. That song was catchy enough, but the tune that really caught my ear was a year later-- his theme song for the British film Absolute Beginners, which he also starred in. 

At the time I actually wondered if he was a retro artist, since that lead me into the 1950s-styled Let's Dance album. 

Digger deeper, I found myself captivated by such moody tracks as "China Girl," "Cat People," and "Ashes To Ashes"-- I was beginning to discover the weird, artsy Bowie, and there was no turning back.

My wife's museum, The Albany Institute of History and Art is currently showing a really nice exhibition of rock and roll photography (Bowie included!) by local artist Patrick Harbron. In conjunction with the show, they held an open mic night tonight. We weren't sure what the turn out would be, so I brought my electric guitar just in case. I have been taking guitar lessons for a couple years now, still struggling to find time and motivation to practice, but I decided to give it a shot. Now I have no problem getting up and singing/performing in front of an audience, but playing the guitar and singing adds another level of complexity. Oof... I probably should have sat it out, but I gave Bowie's "Starman" a try. Coincidentally, the line "that weren't no DJ that was hazy cosmic jive" has some relevance with the current news about the discovery of mysterious radio waves from outer space. David, is that you? "Ground control to major Tom..."

Best In Show: "Diamond Dogs" 2016 Memorial Edition.
©Jeremy Clowe. All rights reserved.

More successful for me at Albany Institute was my taking part in a recent album cover design contest (also tied in with the rock photography exhibit). Again I chose Bowie as the subject, and reinterpreted his 1974 album Diamond Dogs. 

I had the perfect model: our dog Trixie. My illustration took things quite literally-- I sprinkled diamond shapes across the vinyl sized design, and Trix was decked out in full Bowie "Ziggy Stardust"-era glam (even the shoulder pads from the "Ashes To Ashes" video). The assemblage was mixed media, with elements of collage, colored pencil, paint, and glitter, as well as type created on the museum's old printing press. You can view some photos of my creative process in this Facebook album.

In addition to David Bowie, the through line for these projects is that they were about me focusing on artistic projects. I wish I could master the fearless creativity that Bowie had--I guess that's a big reason I admired him so. The other attractive part of his legacy is that his work transcended--as if he was the conduit for its creation. Although he is gone, his songs remain... and I think he understood, whatever his obvious fears and demons, that he should get out of the way of being creative. 

My Diamond Dogs reissue ended up winning the cover design contest! I know... it may seem a little fishy with my wife working at the museum, but this was entirely voted on by the public. I even saw a couple of people admiring the work when it was on display (even taking photos). So "bully for you, chilly for me..." I'll try and keep David Bowie in mind, and keep out of my own artist's way in the new year.

Listen Live: exit977.org

Starman

I am the DJ, I am what I play...

I should have known back in January that this would be a rough year. Let's keep good thoughts — if you need a little musical inspiration, tune into my tribute to the late, great David Bowie tonight at 11 p.m. ET on 97.7. WEXT's MyExit. 

I've been wanting to do this ever since the news of Bowie's passing, and finally got around to recording the other week with the great KTG. If you have listened to one of my (or others) MyExit shows, you know they let you play an hour of your favorite music...so obviously, this was a daunting task when it comes to a musician with the body of work like David Bowie. I'm happy with the way it turned out though... and only just learned that it would be played tonight, election eve (cue "I'm afraid of Americans"). If you miss it, it should be replayed on Saturday, November 12, at 11 a.m. 

Speaking of Bowie, this past weekend I visited family in my hometown, and had a chance to meet up with a local filmmaker who is working on a documentary about the artist's arrest in Rochester back in 1976. You have probably seen the infamous mugshot that was "discovered" several years ago. It's a haunting image, and I enjoyed hearing about all of the threads that the filmmaker has discovered about this story (I believe the only time Bowie was arrested - for pot). Perhaps it explains why he never returned to the Flower City... I had tickets to his 1987 Glass Spider tour that was supposed to take place in Rochester in September of that year, but it was mysteriously canceled (we all thought it was because U2 was coming to town the next month in support of the breakthrough, The Joshua Tree... which I did see!). In any event, Bowie's legacy lives on... I hope I'll be able to assist with the documentary in some way — I'll be sure to keep you posted.

Afraid of Americans (or maybe just Rochesterians), 1976

Hopeful lyric for tonight/tomorrow. Inspired by LA riots (which I survived):

"We reach out over race and hold each other's hands
Then die in the flames singing 'we shall overcome'
Whoa! What's going on?
There'll be some blood no doubt about it
But we'll come thru don't doubt it" - "Black Tie, White Noise" (1992)

Sound + Vision

"Turn and face the strange...ch-ch-ch-ch-changes, just gonna have to be a different man..."

I'm sure it's pretty obvious to anyone who has seen me take the stage- David Bowie was a HUGE influence. I always had him in the back of my mind... how I imagined the perfect rock star should sound and look. It was art and rock and soul.

This past summer I had my first shot as front man (really) for a live music band- it seemed absolutely fitting that I start by singing a medley of two of his biggest tunes, "Suffragette City" and "Fame." Honestly, I could have done a whole set of his songs.

All that is good... alternative/indie rock...whatever they are calling it these days...owes a huge debt to Bowie. He was always exciting and consistent...one of the few. A true performer, who brought drama and intelligence and tons of creativity to the world of music.

I'm so glad I had a chance to see him live on a handful of occasions, and sad that I won't have another chance. But his spirit will live on, that's for sure... how could it not?

R.I.P. and THANK YOU, Ziggy Stardust.

Musical Break

It's been a busy couple of weeks: handling press and the completion of a new exhibition video for the Museum has filled most of my time lately, but more on that later... right now I'm looking forward to a week's vacation.

Here comes the sunnier days for musician Diego Garcia...
but it's alright. Photo by Jeremy Clowe. 

It kicked off in grand style this past Friday, as we attended a concert by Diego Garcia in downtown Albany, courtesy of our friends at radio station, WEXT. For the uninitiated, Garcia is an Argentine-American musician whose work we like quite a bit (we even chose his cover of the Kinks' "Strange Effect" as our first dance); his album Laura (inspired by the separation from his girlfriend, now wife) was one of my favorites from last year, and he has just released his second, entitled Paradise. The overall mood is a bit lighter on this sophomore release, which had me concerned, as I tend to be attracted to the grayer shades of contemporary music (as Sarah is quick to point out). No worries though: as we heard during his lively concert, there is plenty more strong material to be enjoyed this time around (and we continue to love Zeke Zima's passionate Spanish guitar playing).

A week before, we were treated to another special concert by WEXT, going to see Fitz and the Tantrums with fellow Los Angelelians, Capital Cities. This was our forth time seeing Fitz and his band perform (their neo-soul album, Picking Up The Pieces was another one of my recent favorites). Like Garcia, I was a little worried that their latest album, More Than Just a Dream, was going to stray too far from the more thoughtful tone of its predecessor (same story: musician writes fantastic album inspired by the loss of his then-girlfriend). No problem. There is still good material (especially the first six songs), and the band seems more confident than ever onstage. 

I miss hearing more of Fitz's classic soul vibe on More Than Just a Dream, but their sound has embraced even more of a new wave style, which has its interesting moments. And talk about flashback... I think their opening act, Capital Cities, would have no problem fitting in back in 1982... talk about your synthpop dance party! It was good fun, and also nice to recognize a couple of their songs, "Safe and Sound" and "Kangaroo Court," which I had already been enjoying on the radio.

What else have I been listening to lately... well, I really dig what I have heard of Arcade Fire's double-album, Reflektor. The band certainly has been consistent in quality over the years, and the "retro" electro sound again has to be pointed out... sort of dark, new wave mashed up with Haitian rhythms, which I can't complain about. I was also delighted to learn that David Bowie sings backup on the title song: each time I listen, I find myself excitedly waiting for his lines... about halfway through.

Since we are talking about the blurred line of past/future rock and roll, I should point out the recent passing of musician Lou Reed. I have admired some of his higher profile songs ("Perfect Day," "Sweet Jane," "Walk on the Wild Side"), but must admit to knowing little of the larger body of his work, solo or with the Velvet Underground... it seems I should, as he pretty much paved the way for Bowie and many of the indie, alternative rockers I listen to today. I do recall, months before his death, being surprised at how "modern" the Velvets' song "Rock & Roll" sounded when it came on the radio.

Ok, writing this blog has started to feel like the work I'm trying to take a break from, so time to for me to tune in (music, music) and drop out. Enjoy the sound samples, and I'll write more soon.

"Just a reflektor..." Photo courtesy David Bowie (Official) Facebook. All rights reserved.

Related Links:

diegogarcianyc.com

fitzandthetantrums.com

capitalcitiesmusic.com

arcadefire.com

davidbowie.com

exit977.org

"Lou Reed, 1942-2003," Rolling Stone, November 6, 2013

So... Where Were We?

I woke up this morning to the news that after more than a decade, musician David Bowie had finally released a new song (appropriately titled "Where Are We Now?") on this... his 66th birthday!

Being a fan, I was excited to give this a listen...



... but actually clicked it off less than a minute into it. 


A very gloomy, downbeat song after all this time, and definitely not what I expected. Sure, I am used to Bowie venturing into some odd sonic territories... at his best, that's what makes him David Bowie! But at first, second, and third listen, there is something very awkward and dreary about this one... makes it hard to listen to (not unlike the latest from fellow rock veterans Bob Dylan and The Rolling Stones). 

I will say that Bowie earns points for continuing to be experimental. Apparently the song deals with the city of Berlin, where the artist lived in the late 70s, and perhaps looks at how much he and the city have changed since that time (it has a very regretful, sad feeling to it).

Following his tremendous rise in early '70s, Bowie moved to Berlin, Germany, to exorcise his rock and roll excesses, which included a heavy drug addiction. He recorded three very interesting, experimental albums with producer Brian Eno (Low, Heroes, and Lodger), and set the template for much of the electronic sound and style that would emerge in the 1980s. Listening to the song (and watching the video) from that perspective, I am somewhat more sympathetic... it gets better towards the end actually. There is a very heavy conceptual thing happening in the video, directed by Tony Oursler... it wouldn't feel out of place as a video art installation, which is cool. 

At the moment, I'm also intrigued by the upcoming album. The cover design takes one of those 70s Berlin albums, Heroes, and simply places a blank square over top with type that reads "The Next Day" (the new album title). I'm a little more prepared to see the brilliance in that minimalist move, following last year's graphic design class. 

As for the song... I have to say that it is hard to listen to work by an artist you admire, and admit to yourself that you're not really sure you dig it (I'm ok with melancholy, but prefer a little more melody to balance things out). Maybe I'll have to give it more time... 

In any event, I'm relieved to hear that David Bowie is back. Happy Birthday to one of the true originals, who apparently still has a few tricks up his sleeve...

Related Links:

www.davidbowie.com

"Everything We Know About New David Bowie Album 'The Next Day,'" Flavorwire.com, January 8, 2013

"David Bowie: The Next Day. That album cover design." Barnbrook Blog, January 8, 2013

"Born To Rock," Blue-eyed Soul Productions blog, January 8, 2012

Born To Rock!

I saw double just the other day at MoMa

thankyouverymuch! Artwork by Andy Warhol,

1963. (c)2011 Andy Warhol Foundation

for the Visual Arts/Artists Rights Society
(ARS), New York.

I must say that I was little envious of the poets I have worked with over this past month. To write their own material, and then get up onstage and perform it in front of an audience seems like a pretty sweet deal. It has been too long since I have been actively performing, and I think it would be great to get back up on stage. Don't get me wrong, I still "perform" in a sense-- we have a great time hitting the karaoke circuit now and then, and "music" seems like a natural form for me to take part in more seriously.

I am always amazed this time of year when I remember that two of the world's biggest musicians ever were born on the same date: "The King" Elvis Presley (1/8/35) and "The Thin White Duke" David Bowie (1/8/47). Only 12 years separated these artists (not bad, Sarah?), and you can see a few similarities in the way they worked and were received by the public. As a mad music fan, I must admit to spending some time studying both Elvis and Bowie's music and careers; they would both make for excellent interviews for my music show, so if either of you are out there reading this!...

I was turned on to Bowie in late high school-- being a huge new wave/Britpop fan, he was the name I heard these musicians always citing as being a tremendous influence. The album that first really got me hooked was 1983's Let's Dance-- it had that infectious big '80s sound, with a bit of trademark Bowie weirdness thrown in (I generally miss this mix of elements in today's pop music). Since this was my starting point, I first scratched the surface of '80s Bowie, which in retrospect wasn't really his high point. The early stuff is where he really broke ground, and kept us all on the edge of our seat with his quirky, art rock, and larger than life persona-- Ziggy Stardust anyone?

(I can rock this one out at karaoke. I'm just sayin'.)

Similarly, Elvis Presley was an unbelievable performer and musician. He started as one of the first high-profile rock and roll artists, fusing elements of country and rhythm and blues-- I guess you might more correctly call it "rockabilly" (which I love!). There is something absolutely infectious and raw in those early recordings. Check out The King of Rock 'n' Roll: The Complete 50's Masters, which captures a young, hungry (no pun intended) artist on the rise, from Sun Studios to RCA. There was no holding him back, and his intense performances (with sneer and shaking pelvis) shocked everyone. Mothers, lock up your daughters!

There was nothing safe about either musician starting out. It was only after the army and Hollywood for Elvis, and the huge commercial success of Let's Dance for Bowie that the artists started playing it "safe" (although Bowie began to rectify this after the '80s, and produced some great later work). I guess both are examples of the dangers of "fame... makes a man think things over..." They both, however, remained influential and unequalled performers.

Channeling this guy circa early 50s, in the early 2000s.
He really was pretty cool back in the day, and so was I!
Need to find a photo of me in "Elvis" mode. I'll post later.
Photo 1956 by Roger Marshutz. (AP)

I was never really into Elvis growing up-- I only really knew him as sort of a caricature, and the Beatles were the classic artist that first grabbed my attention at the age of 10. It wasn't until I was around 30 and actively working as an actor, that I began listening to Elvis more seriously. Initially, it was sort of a joke-- I began doing impressions of Elvis to amuse an older co-worker who was a musician, and loved his work. This eventually inspired us to do a few gigs with his karaoke machine, where we both traded off on singing "The King." We even had a bit of a theme where he would start singing, and then I would gradually walk in (wearing dark shades and jacket) and accuse him of being my brother Jesse, who took over the music after I was cryogenically frozen in the late 50s (rescuing me from the post-war years!). It was good fun, and definitely tapped into my "inner rockstar." I'm that way anytime I get up onstage with a microphone-- I sort of lose track of what I'm doing... in a good way!

Of course I never had a chance to see the real Elvis live (except for an odd concert in 2002 where his old backing band played against a virtual "King" live on the big screen). I have had the chance to see David Bowie a few times in concert: 1990's Sound + Vision Tour, 1995's Outside tour with Nine Inch Nails, and 2004's Reality Tour. My first was supposed to be in 1987 during his "Glass Spider" tour in my hometown of Rochester, New York. Unfortunately, that was cancelled... due to illness? Poor ticket sales? Or was it a resentment of the Flower City?

He'd rather not be in Rochester (to riff on an old ad campaign).
Rochester Police Department mugshot of Bowie in full-on
1976 "alien mode!"

I have since learned that Bowie had an "eventful" time in Rochester back in March 1976, when he was arrested (along with Iggy Pop) on a felony pot possession charge following his concert in the city. It resulted in this bizarre mug shot, which seems fitting for the flamboyant performer, who was probably more likely to be high as a kite on cocaine back at the time. He was also at the height of his strangeness--anyone who has seen the remarkable sci-fi movie The Man Who Fell to Earth by Nicolas Roeg knows what I'm talking about-- it's Bowie at his most alien (perfect casting). By why hold it against my hometown? It sounds like Bowie's kicked the habit, but has yet to return to Rochester... neither has Elvis... "The King" actually played one of his final concerts in the city on May 25, 1977. A few months later he would be gone, the result of his own substance abuse issues.

But both Elvis and Bowie "live"-- even though the latter has been in retirement for a few years, and the previous has been for even more (although some say he's still out there!). I am still frequently referred to as "Elvis" at the Museum where I performed so many years ago, with many inquiries into another comeback. Yes, it would be "good to be back," something I used to say at the start of each of my impersonations. Maybe 2012 is the year I finally tap into my own inner Bowie and rock some of this blue-eyed soul. I was born to two musicians myself, so it would be a shame not to. In any event, watch this space for news on upcoming performances (musical or otherwise). Off now to listen to the birthday boys....