6/6/2023 0 Comments Changes lyricsNever in my life did I think this would be my life…” seeming to forget that one of the reasons the two acts are trending is because they both used the same slur in their songs. Beyoncé and Lizzo is trending… 12 year old me in Houston listening to destiny’s child is crying rn. This is the result of me listening and taking action.” I’m proud to say there’s a new version of GRRRLS with a lyric change. She said she would be changing the lyrics, saying: “I never want to promote derogatory language. New West End Company BRANDPOST | PAID CONTENTīeyoncé’s decision to use the words came just weeks after Lizzo had apologised for using the same word in her song GRRRLS.I’m starting to communicate what I want to do. ![]() "Then the record provided me, for the first time in my life, with an actual audience – I mean people actually coming up to me and saying: ‘Good album, good songs.’ That hadn’t happened to me before. First with the sense of: ‘Wow, you can do anything.’ You can borrow the luggage of the past, you can amalgamate it with things that you’ve conceived could be in the future, and you can set it in the now. Putting it in context of the album that it kicked off, he told me: “ Hunky Dory gave me a fabulous groundswell. It was also a preamble to John Hughes’s teen movie The Breakfast Club.ĭid Bowie know back in 1971 that he was making a career-defining single? The song, which has become an anthem of youthful freedom, has been covered by several artists, perhaps most creatively by Seu Jorge in Wes Anderson’s film The Life Aquatic. As the lyric says, he was always ‘ much too fast to take the test’ of being pigeonholed. But it became a staple of FM radio, and in Bowie’s live sets, evolving through different arrangements as his stylistic calling card. He knew when a take was right.”Ĭhanges was released as a single in January 1972, but failed to chart in the UK, and in the US it made it only to No.66. Nearly every track I recorded with David was first, second or third take, usually second. “David didn’t like doing more than three takes to get it. “There was incredible pressure in getting a track recorded right,” Woodmansey agreed. If you play a song too many times in the studio it can become stale, and I think David wanted to capture the energy of it being on the edge.” In some respects it’s nerve-racking, but it gives a certain feel. No time to think about what you’re going to play, you’d have to do it there and then. We’d go in, David would play us a song – often one we hadn’t heard – we’d run through it once and then take it. “Our approach was very off-the-top-or-our-heads. Hunky Dory was the first recording session I ever did in my life, and just to be in a studio was amazing,” the late bassist Trevor Bolder said. ![]() He’d obviously focused more as a writer, yet he’d managed to keep his unique approach, especially lyrically, while streamlining everything.” “ “Honestly, I didn’t think he had these songs in him,” recalled drummer Woody Woodmansey. There was a sense of excitement on the sessions, fuelled by Bowie’s new material. to midnight, Monday to Saturday, with quick breaks for tea, sandwiches and the occasional bottle of wine. Bowie, his musicians and producer Ken Scott worked from two p.m. Sessions for Hunky Dory at London’s Trident Studios ran through June and July 1971. ![]() Sometimes when there’s something simplistic, if it works then keep it.” ![]() The vamping bit in Changes was his idea because that’s how he wrote the song, so that’s how it stayed. I said: ‘I’m serious.’ He gave me total freedom to play what I liked, really. "I took some manuscript paper and I was writing stuff down, and I stopped and said: ‘Do you know what you’ve got here? This is the finest collection of songs, and I tell you what, I don’t have any money but if I did I would put it all on saying that this particular record – which he already told me was going to be called Hunky Dory – will still be around and important long after you and I are gone.’ I went to his house, and he had his guitar and he played all of the songs, and every single one was a winner. “He knew how the music needed to be and he would pick musicians that he felt could achieve what it was he was after. “David knew what he wanted to do,” Wakeman tells Classic Rock. That’s why he brought in session ace Rick Wakeman to play piano and embellish and add more of a nuanced touch to the recording. Listening to Bowie’s home demo of Changes, the song is all there, although his playing is a bit plodding. Writing on the piano opened up his possibilities, because of its association with so many kinds of music – classical, cabaret, every style.” He had an ability to pluck a song from those first moments when he played with an instrument. “David was a fantastic musician, because his approach was not studied, it was by ear. “He loved that piano,” Angie Bowie told me.
0 Comments
Leave a Reply. |