Bowie on Bowie offers the superior interviews David Bowie has granted in his close to five-decade profession. every one featured interview lines a brand new step in his detailed trip, successively freezing him in time in all of his a number of incarnations, from a tender novelty hit-maker and Ziggy Stardust to plastic soul participant, Eighties sell-out, and the artistically reborn and loved elder statesman of not easy renowned track. In all of those iterations he's remarkably articulate and in addition preternaturally well mannered as nearly each interviewer feedback upon his allure. The positive aspects during this booklet come from shops either prestigious—Melody Maker, MOJO, New Musical show, Q, Rolling Stone—and much less well-known—the Drummer, Guitar, Ikon, Mr. Showbiz—but irrespective of the renown of the journal, newspaper, or site, Bowie shall we us strategy the nerve middle of his notoriously inventive output.
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Additional resources for Bowie on Bowie: Interviews and Encounters with David Bowie (Musicians in Their Own Words)
The song did not start that way in Lennon's conception. There has long circulated a 'white label' bootleg cut of takes 1-7 and 25 (thefinalsingle spliced together takes 7 and 26), while take 1 (which lasts only 2*32") and take 7 also appear on Anthology 2, in addition to Lennon's homeproduced demo. These show that the song's refrain (which begins the single) arrived on the scene rather late, while Lennon's original conception had been of a gentle, fragile song. The version as released consists of a short introduction, four refrains interspersed with three verses, and a somewhat unstructured coda which lasts for a quarter of the song and which makes use of both wild and tapereversed drumming.
128 b p m ; 3'33". This is the first song on the album not to use the group's guitars and drums: here we have a string nonet plus harp. This alone causes parallels to be made with the earlier 'Yesterday' (string quartet) and 'Eleanor Rigby' (octet), although Goldstein's negative review finds this song uninspired. He insists that it sounds like an immense put-on in comparison to 'Eleanor Rigby', being typical of McCartney's 'Pop magnificats' which have by now become 'merely politely profound'. MacDonald, on the other hand, calls 'She's leaving home' one of the two best songs on the album.
This is an interpretation Walter Everett13 finds symbolized in the music, where both the actual and metaphorical distance of daughter from home are symbolized by the growth of a single motif. The cello line at 13" acquires a contrary violin line at 35" which, after alternative articulations in verse 2, adds pandia- Commentary tonic upper voices at 2^8". This underlies what he describes as the song's homology of affect and lyrical interpretation. 'She's leaving home' is clearly more full of sentiment than the rather dispassionate 'Eleanor Rigby'.