Two introductions


Hey vibes man, hey jazz man, oh play me your serenade
Any deeper blue and you’re playin’ in your grave

She’ll come, she’ll go
She’ll lay belief on you
But she won’t stake her life on you
How can life become her point of view


Lady Grinning Soul, David Bowie (pianist Mike Garson)

Released 1973 from the Album Aladdin Sane


New York City Serenade, Bruce Springsteen (pianist Roy Bittan)

Released 1973 from the album The Wild, the Innocent, and the E Street Shuffle







Connecting baby, your heart to mine


Way back in the misty beginnings of the blog, I wrote this piece based upon my notion that Springsteen is, in fact, the American Bowie. Hardly anyone read it then as I had about 10 followers and it was a pretty long piece. I reposted it last year and again – though my audience had grown considerably – very few people showed any real interest.

That might be because it isn’t a very interesting subject to most people or it may be that it just wasn’t that good of a piece. Whatever the case may be, I was asked recently (obviously by someone who had not read said piece) how it is that my two all time favourite musical artists are so very different from one another? That got me thinking all over again about the similarities I see at every turn between these two.

I’m guessing that part of the problem people may have with seeing the similarities is the quite opposite energies these two project. Bowie’s is much more feminine while Bruce exudes an undeniably muscular male energy.

And don’t get me wrong, I can certainly see that they are miles apart when it comes to the particular individual aesthetics they each embody. Springsteen has worked hard to project a very homespun, authentic, working man image. Whilst Bowie was always mercurial in his adoption of twitchy avant-guard and bleeding edge personas.

All of that, however, can be considered mostly surface gloss. These carefully constructed artifices were simply their way in to their respective audiences. It was what they had to say having won those audiences that showed where their true similarities lay.

Both Springsteen and Bowie have had a lifelong fascination with the outsiders, the outliers, the alienated. Bowie chose to use metaphor to express that alienation, often presenting his character as an actual otherworldly being, a literal alien.

Ziggy the main character from the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars was the most obvious example of this. However, right to the end, the theme peppered his recordings. One of his outtake Tracks from his penultimate album The Next Day is a song called Born in a UFO. And the Blackstar album (and accompanying video) is also permeated with such metaphorical extraterrestrial imagery.

And so, yes, it’s fair to say that Bowie was ‘weirder’ than Springsteen. Ultimately, however, the two artists are dealing with different takes on a very similar idea. Both are asking the question; what is it like to live on the outside of a society that largely ignores or even denigrates its fringe dwellers?

Springsteen writes about aliens too but his come from a little closer to home, illegal aliens from across the border populate many of his songs. This is especially true of his solo albums The Ghost of Tom Joad and Devils and Dust. Tracks like Across the Border and  The Line deal very heavily with the issues of transplantation and the desperate need to find a better life that so many poor people feel.

In The Line, even Springsteen’s Border Patrol Officer lives in a state of emotional isolation.

Of course, Bruce was writing about alienated anti-heroes long before those solo albums. Darkness on the Edge of town is a lone loser album par excellence. And the operatic Born to Run is all about the dream of escaping from a town where you simply don’t fit in.

Since writing the original post, I keep turning up unexpected links between the two artists. The fact that long-time  E Street pianist Roy Bittan played on such iconic Bowie tracks as Station to Station, TVC15, Ashes to Ashes, and Up the Hill Backwards still kind of blows my mind. And recently I discovered that drummer Zachary Alford, who played with Bowie during his ’95 tour with Nine Inch Nails and drummed on The Next Day album, was also the drummer in Springsteen’s ‘other’ band (the one we don’t mention in polite conversation because it wasn’t E Street). Zach is a phenomenal drummer as should be apparent from these two clips.


For two musical giants who never actually collaborated (though Bowie, of course, did cover two of Bruce’s songs very early on in both their careers), the threads that bind them seem pretty numerous.


Since I wrote that original blog, this article has come out. It kind of treads the same ground but with a slightly different take.


Two tracks, one riff

Is it any wonder I reject you first?
Fame, fame, fame, fame
Is it any wonder you are too cool to fool? (fame)
Fame, bully for you, chilly for me
Got to get a rain check on pain (fame)

It seems that one thing the true greats of music have in common is a willingness to steal from each other and they don’t come much greater than James Brown and David Bowie. Both were innovators and both shameless ‘borrowers’ of ideas.

But if I were to ask you which of these two legendary musicians was the most likely to borrow from the other, what would you say?

I suspect you would nominate the magpie Bowie as the likely thief rather than the revered James Brown.

Take a listen to these two tracks.



In 1975 Bowie got together with John Lennon for an impromptu jam session in a New York recording studio. The result was the now classic track Fame. Its guitar riff is as funky a groove as anything James Brown ever conceived so did it originate with him?

Hot (I Need To Be Loved)


There is no mistaking the riff behind this funked up Brown cut.  It is – note for note – the same as Bowie’s Fame. However, this was recorded in ’76. That’s a year after Bowie recorded his version.

Therefore, though Bowie ‘borrowed’ from a good many artists over the years, in this case, the riff was lifted by Brown.

That said, both tracks are good and the riff serves both very well. Bowie (but not his guitarist Carlos Alomar who actually created the riff) was flattered by the Godfather’s homage.

Alomar was upset that Brown’s band – all of whom he knew personally – had stolen his riff and wanted to sue but Bowie insisted that they not, unless Brown’s version became a big hit – which did not happen.


Watch that man


Watch that man!
Oh honey, watch that man
He talks like a jerk but he could eat you with a fork and spoon
Watch that man!
Oh honey, watch that man
He walks like a jerk
But he’s only taking care of the room
Must be in tune

Bowie, Watch that Man

Oh, the duplicity of Real Estate Agents

Okay, I’ve got my detective hat on again (groans from the rapidly dwindling audience). I came upon this article on the web the other day and, of course, the mention of Bowie had me sitting up straight in my chair (god I’m a tragic sometimes). This was the blurb that caught my eye;

If you love New York City lofts filled with wood beams and white-painted exposed bricks, you’re gonna love the former home of the late great David Bowie. Currently available to rent for $43,000/month through NestSeekers International, it’s the kind of tastefully extravagant living space any person dreams of. Now go and sign that lease as soon as possible – we’ll even help you throw the welcome party…..

Sounds great, right? I mean, how amazing would it be to have the chance to live in an apartment that was once Bowie’s? Who (that could afford $43,000 per month!) wouldn’t jump at the chance to be able to throw that little tidbit in at their next dinner party?

Something about it just didn’t sound right, though. At first, I thought it must be a place he’d lived in before moving to his penthouse on Lafayette Street. I knew about another place in SOHO he’d owned briefly, though I don’t believe he actually ever lived there.

I was intrigued, I’ll admit. Where was this ‘former home of the late great David Bowie’ actually located? Then I noticed this photo or, more specifically, the view outside the window.


The buildings across the street looked very familiar to me. In fact, I was quite sure that the side alley you can just make out was Jersey Street which meant that this indeed had to be the building where Bowie’s penthouse is situated (285 Lafayette Street). But this was clearly not a penthouse view. This was first or second floor at best – fishy.

I went through my own photos to be sure I’d identified the location correctly and found this shot I took from Jersey Street with Bowie’s building foreground left;


There’s no doubt that it’s the same locale, which means the blurb was a deliberate attempt to deceive potential renters. Technically, the article is correct, Bowie did indeed call the building home. However, the way it is worded, you are definitely given the impression that the actual apartment was once inhabited by the man himself.

I know that they do this sort of thing all the time, but as someone who passionately loves Bowie’s music, I find it irksome that tacky estate agents are willing to trade on his name in such a dishonest way so soon after his passing.

Photograph 1: NestSeekers International. Photograph 2 is my own.


Watching the detectives



Picture credit: Jimmy King.


I like to pay attention to the little details. I also like a good mystery to solve and so, when I first saw the above image of Bowie staring out from a Manhattan rooftop, I became taken with the idea of discovering which rooftop it might be.

I figured that it would most likely be in the SOHO area judging by the view of the Empire State Building and the fact that Bowie actually lived on Lafayette Street in SOHO. I didn’t realise it at first but my own visit to Bowie’s apartment was going to yield my best clue.

I took a bajillion photographs that day and one, in particular, would give me the landmark I needed to crack the location.

If you look closely at the Bowie pick, you will notice a white building festooned with water towers.


I noticed this building too – when I was standing on Lafayette Street. The towers drew my eye and inspired me to take this photo;


It looks a little different seen from street level (and nearly three years later) but it’s definitely the same building. That means the photo had to have been taken on the roof  of one of the buildings with an unobstructed view across Houston.

At first, I thought it must be the Puck Building which is right next door to Bowie’s penthouse apartment, between it and Houston, but the angle is wrong. I also ruled out Bowie’s actual building due to its obstructed viewpoint.

The colour scheme of the rooftop was the final tell. If you take a look on Google Earth, not too many buildings in that general area have that form of dark tarpaper roof. In fact, there’s only one that could provide the correct angle. The location had to be 270 Lafayette Street diagonally across from Bowie’s penthouse.

Image from Google Street View.


And that’s how you waste a couple of hours of your Saturday.


Words and image (unless otherwise credited) are my own.







Picture credit: Jimmy King.

Your transmission and your live wire


There’s only one true unifying theory of everything and it is music.





You’ve got your mother in a whirl
She’s not sure if you’re a boy or a girl
Hey babe, your hair’s alright
Hey babe, let’s go out tonight
You like me, and I like it all
We like dancing and we look divine
You love bands when they’re playing hard
You want more and you want it fast
They put you down, they say I’m wrong
You tacky thing, you put them on

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Don’t ya?
Doo doo doo-doo doo doo doo doo

You’ve got your mother in a whirl ’cause she’s
Not sure if you’re a boy or a girl
Hey babe, your hair’s alright
Hey babe, let’s stay out tonight
You like me, and I like it all
We like dancing and we look divine
You love bands when they’re playing hard
You want more and you want it fast
They put you down, they say I’m wrong
You tacky thing, you put them on

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

Don’t ya?
Doo doo doo-doo doo doo doo doo
Doo doo doo-doo doo doo doo doo

Rebel Rebel, you’ve torn your dress
Rebel Rebel, your face is a mess
Rebel Rebel, how could they know?
Hot tramp, I love you so!

You’ve torn your dress, your face is a mess
You can’t get enough, but enough ain’t the test
You’ve got your transmission and your live wire
You got your cue line and a handful of ludes
You wanna be there when they count up the dudes
And I love your dress
You’re a juvenile success
Because your face is a mess
So how could they know?
I said, how could they know?

So what you wanna know
Calamity’s child, chi-chi, chi-chi
Where’d you wanna go?
What can I do for you? Looks like you’ve been there too
‘Cause you’ve torn your dress
And your face is a mess
Ooo, your face is a mess
Ooo, ooo, so how could they know?
Eh, eh, how could they know?
Eh, eh.

Bowie, Rebel Rebel