David Bowie : Red Sails
-David Bowie
On May 18, 1979 David Bowie released Lodger. It is often considered the last of the fabled Berlin Trilogy recorded with Brian Eno even though the album was recorded in New York and Montreux where Bowie had homes. Still, Eno's impact on the album can be heard to an even greater degree than on Low and Heroes, especially in the way his Oblique Strategies cards encouraged accidents in the studio. Not all of the musicians enjoyed the experiments. Carlos Alomar called some of Eno's ideas "bullshit...I totally, totally resisted it"
Adrian Belew played guitar on most of the tracks:
“When I arrived they had about twenty tracks already done: bass, drums, rhythm guitar, but no vocals. They said, ‘Adrian, we’re not going to let you hear these songs. We want you to go into the studio and play accidentally – whatever occurs to you’ ... I would just suddenly hear ‘One, two, three, four’ in the headphones and a track would start ... I didn’t even know what keys the songs were in or anything. The one particular song where I remember I lucked out on was ‘Red Sails’, ‘cos I started the guitar feeding back and it was right in key. Anyway, they would let me do this maybe two or three times and by then I might know something about the song, so it was over.”
Some of the songs on Side One reflect Bowie's travels. "African Night Flight" is about a group of German fighter pilots Bowie met in Kenya. "Yassassin" combines Turkish melodies with a reggae beat. "Red Sails" sounds like Neu recording a song set in the South China Seas. Side Two contains the hits ( "Boys Keep Swinging" and "D.J." as well as the final single from Lodger, "Look Back In Anger") . David Mallet returns to direct the music video.
RCA exec Mel Ilberman came out with the early spin on Lodger:
But, of course, record execs don't write the reviews. Writing for Rolling Stone Greil Marcus hoped for something bigger on the even of the 80's:
Lodger might have been an event, if only as a record we would someday look back on as work that mapped the territory between past and future. Instead, it’s just another LP, and one of his weakest at that: scattered, a footnote to “Heroes“, an act of marking time.
Robert Christgau was more taken with the album, giving Lodger a grade of A-:
I used to think Bowie was middlebrow, but now I'd prefer to call him post-middlebrow--a habitue of prematurely abandoned modernist space. Musically, these fragments of anomie don't seem felt, and lyrically they don't seem thought through. But that's part of their charm--the way they confound categories of sensibility and sophistication is so frustrating it's satisfying, at least if you have your doubts about the categories. Less satisfying, actually, than the impact of the record as a whole.
