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school music industry. Pitt ‘doesn’t believe’ in
applying labels to sexuality. ‘People always have to
say now. It was better when people didn’t have to
say.’ His vagueness is consistent with other rock
managers like Andrew Loog Oldham, who was
straight but loved camping it up to seem more like
Brian Epstein or Kit Lambert – the gay managerial
archetypes in the swinging London of 1966.
In other respects, Pitt was anything but vague.
First of all, he injected some professionalism into
David’s business affairs, and paid the bills that
started to cascade into his office. Pitt’s trademark
acerbity shows in his comments that Ralph’s
management of David’s affairs, notably using
David’s income to pay his own bills, ‘was not the
usual way of doing things’. Over subsequent months,
Pitt paid for outstanding phone bills, new shirts and
endless running costs for the band van, all marks of
his devotion to David’s cause.
Pitt’s enthusiasm was in stark contrast to the
situation at Pye; in June, Hatch started producing ‘I
Dig Everything’ then, dissatisfied with The Buzz’s
performance, replaced them all with session
musicians. The resulting single, with its cheesy,
chirrupy organ, and Austin Powers grooviness, bore
more of Hatch’s production trademarks than any of
his previous Bowie sides, and the result, says Hatch
himself, was ‘that it didn’t work at all. We were
getting further away from what we had with The
Lower Third single, rough as it was.’
Although it was obvious that ‘I Dig Everything’
was destined for oblivion, David was unconcerned.