Bowie PDF Book from JFK247

tape and soon started recommending Gabrels for
sessions. Then, in June, it turned out he needed a
guitarist, too. All of a sudden, David Bowie was in a
hurry again. ‘It happened really fast,’ says Gabrels.
‘David called me, I went over to Switzerland and we
had this music to do – in a weekend.’
The project was a collaboration with dance troupe
La La La Human Steps; Reeves came up with an
arrangement for ‘Look Back in Anger’, with an
extended, dark, clipped instrumental passage:
‘Because we’d only really talked about art before,
when we did start working together all our reference
points for sound were painterly or architectural.
David was saying stuff like, “We should do
something where the guitars are like flying
buttresses and cathedrals.”’
The first outward clue that Pepsi-sponsored, preplanned
Bowie had been laid aside in favour of arthouse,
improvised Bowie came in what was an
obscure but, for fans, legendary performance at
London’s Dominion Theatre in July 1988. The nineminute-long
performance with the Quebec dance
company was part of a benefit for the London ICA
arts venue; Bowie learned his dance steps, in which
he acted mainly as a foil to the lithe, muscular Louise
Lecavalier, in two days. On the night, there was a
genuine sense of danger and eroticism that had long
been missing from his music, as Lecavalier leapt
over him, or cradled him on her knees like a doll,
while Gabrels, Armstrong and Erdal Kizilcay
produced their twisted, gothic, drawn-out version of
the old Lodger song. The show was a convincing