Bowie PDF Book from JFK247

when the trio recorded it at Luxembourg Studios with
David, he was painstaking about every detail,
singing out the middle instrumental section, an
homage to one of Kim Fowley’s songs with the
Hollywood Argyles ensemble, but used here, says
guitarist Mark Pritchett, ‘for a Berthold Brecht effect
– like a funfair with camp overtones’.
When it came to selling the song, it got camper
still, when David recruited Freddie Buretti as a ‘lead
singer’, posing with him and Bob Grace for photos
as the band Arnold Corns, for a single released on
the tiny B&C soul label. In an interview for Sounds,
David touted Freddie, or Rudi, as ‘the new Mick
Jagger’, despite the fact his voice was barely
audible on the record. But that wasn’t the point; the
music, rushed as the recording was, signalled a new
simplicity which was being sold with a new
flamboyance. The serious, rather worthy David
Bowie who’d extolled the virtues of the Arts Lab was
being consigned to history.
‘Moonage Daydream’, together with ‘Hang onto
Yourself’, written over the same period, were all the
more impressive for being kept in reserve. Instead, it
was a third song, written just a few weeks before,
which signalled the beginning of the most crucial
winning streak of David’s life.
The new song’s origins echoed, almost spookily,
two other songs that transformed their composers’
careers. Paul McCartney’s ‘Yesterday’ arrived in a
dream, marking the point at which he would assume
joint leadership of The Beatles. So did Keith
Richards’ ‘Satisfaction’, which he woke up humming