David Bowie : It's No Game (Part 1)
-David Bowie
On September 12, 1980 David Bowie released Scary Monsters...(And Super Freaks), his first #1 UK album since Diamond Dogs. Recorded in New York City without Brian Eno, the album is a departure from the Berlin Trilogy. Producer Tony Visconti says Bowie, perhaps inspired by the success of Gary Numan, wanted to make a commercial album. The tag line for album promotions would be "Often Copied, Never Equalled".
At 33, Bowie had become an elder statesman of the rock scene and like most of us older fellows, he thought less of the current strain of music. In "Teenage Wildlife" he is almost certainly targeting Gary Numan in the lines
Same old thing in brand new drag
Comes sweeping into view
As ugly as a teenage millionaire
Pretending it's a whiz-kid world
Numan's reaction:
"I was quite proud about it at the time, to be honest. Even though I'd fallen out with him it still made me feel, Wahey!I'm in a Bowie song. That's cool."
Sessions began in March of 1980. Although Adrian Belew had been paid for the sessions Robert Fripp did most of the guitar work. Both Pete Townshend ("Because You're Young") and Tom Verlaine, whose "Kingdom Come" is the only cover, made appearances at sessions, but Verlaine, like Belew, is absent from the recording.
The original songs took months to evolve. "People Are Turning to Gold" would become "Ashes to Ashes" (previously discussed) ; "It Happens Everyday" became "Teenage Wildlife" and "Jamaica" became the second single "Fashion". ( Bowie's acting skills would come in handy during the video age. Here he plays both an iconic star and his biggest fan).
Sean Mayes, the pianist on Lodger and the Stage tour, later recalled listening to Scary Monsters with Bowie. " David was depressed – as he always is after completing a project. He was sure it was terrible and would be a failure. But then he laughed and said this was how he always felt!”
That's not how critics felt. Record Mirror's Simon Ludgate awarded it seven stars out of a maximum five. Robert Christgau gave the album a B+ writing
No concepts, no stylistic excursions, no avant collaborations--this songbook may be the most conventional album he's ever put his name on. Vocally it can be hard to take--if "Teenage Wildlife" parodies his chanteur mode on purpose the joke's not worth the pain, and if you think Tom Verlaine can't sing, check out "Kingdom Come"--though anyone vaguely interested has already made peace with that. Lyrically it's too facile as usual, though the one about Major Tom's jones gets me every time. And musically, it apotheosizes his checkered past, bringing you up short with a tune you'd forgotten you remembered or a sonic that scrunches your shoulders or a beat that keeps you on your feet when your coccyx is moaning sit down.
Scott Isler, writing for Trouser Press:
Bowie's current high-relief music may not be to everyone's taste, but Scary Monsters represents a plateau in a career made up of plateaus. Its songs are quirky, intriguing and meticulously presented; musically, only Fripp has any leeway, and his solos total about a minute and a half for the whole album...Bowie continues to amaze.
And from Smash Hits:
Scary Monsters doesn't have the consistency of my favorite Bowie albums. Not all of the songs are up to the standard I associate with Bowie. Apparently critics felt this was a high water mark because every album of the 90's would be called the "best Bowie album since Scary Monsters". He wouldn't top it until his final years.
