Bowie PDF Book from JFK247

Bowie sense of humour, but there was a serious
core to the sentiment. Over the late nineties, a string
of worthy, arty projects – a one-man show of twenty
years’ worth of paintings at a gallery on London’s
Cork Street in 1995 and a position on the editorial
board of Modern Art magazine a year later – gave
the impression that he was simply a rich hobbyist. It
wasn’t true, though. In reality, his compulsion to keep
busy couldn’t be kept in check for ever, and within
months of this statement, he was planning one of the
most extreme recording experiences of his career –
an art project, but one he would struggle to keep
uncompromised.
Mike Garson was the restlessly inventive pianist
who had transformed Aladdin Sane, and last played
with David on Young Americans. Like many
musicians decades into their career, he’d wondered
if he could match the creativity of his youth. In March
1994, he started his first complete album with David
in twenty years, with those doubts nagging at him.
‘Personally, I didn’t think I could really meet the mark
or come up to the standard that I had set on Aladdin
Sane. I was thinking, Could I top that? I was a little
doubtful. But there was this great affinity and rapport.
I still remember thinking to myself, This is special. It
was a gem, to me.’
The inspiration for the new project came from
David’s chats with Brian Eno at his wedding. Eno
was, of course, hot property as a producer thanks to
his work on U2’s electrifying Achtung Baby, an
album steeped in the sound of Bowie, Eno and – it
needs stressing – Tony Visconti’s experiments in