![]() ![]() The backing tracks were recorded without lyrics or melodies pre-written. According to biographer Chris O'Leary, he played "various chord inversions for each chorus section", although Visconti said that "it's the warm string choir you hear on the part that goes, 'I've never done good things, I've never done bad things. For his parts, Hammer layered four multi-track guitar textures, each given different treatments through the Eventide Harmonizer, which were recorded in the studio's back stairwell to add extra reverb. Although desiring a Wurlitzer electronic piano to tape Bittan's piano part, Visconti ran a grand piano through an Eventide Instant Flanger to imitate the sound of one upon learning the real Wurlitzer would take too long to deliver. Bowie played the beat he envisioned for the drummer on a chair and cardboard box, which Davis studied and learned, recording the final take the next day. ![]() ![]() ![]() Davis initially struggled with the ska drumbeat. įor their parts, Alomar played "opaque reggae" and Murray played a funk bassline using a mixture of fingerstyle and slapping. Visconti stated that Hammer "would pick a note and out of his amplifier would come a symphonic string section". Hammer, who dubbed his work "guitarchitecture", formerly toured for Lou Reed and was hired by Bowie after he sent tapes of his work to him. Roy Bittan, a member of Bruce Springsteen's E Street Band who were recording The River (1980) in the adjacent studio, contributed piano while session musician Chuck Hammer played guitar synthesiser. The band, as for Bowie's previous four albums, consisted of Carlos Alomar on guitar, George Murray on bass and Dennis Davis on drums. The backing tracks for "Ashes to Ashes" were recorded under the working title "People Are Turning to Gold". The sessions for David Bowie's Scary Monsters (and Super Creeps) commenced at the Power Station in New York City in February 1980, with production handled by Bowie and longtime collaborator Tony Visconti. He created the piano sound using a flanger. Writing and recording Backing tracks Ĭo-producer Tony Visconti in 2007. The song's namesake was also used for the 2008 BBC series of the same name. In subsequent decades, the song has appeared on compilation albums and other artists have covered, sampled or used its musical elements for their own songs. Initially viewed with mixed critical reactions, later reviewers and biographers have considered it one of Bowie's finest songs, particularly praising the unique musical structure. Influential on the then-rising New Romantic movement, commentators have considered it one of Bowie's best videos and of all time.īowie performed the song only once during 1980 but frequently during his later concert tours. The solarised video features Bowie as a clown, an astronaut and an asylum inmate, each representing variations on the song's theme, and four members of London's Blitz club, including Steve Strange. The song's music video, co-directed by Bowie and David Mallet, was at the time the most expensive music video ever made. Released as the album's lead single on 1 August 1980, "Ashes to Ashes" became Bowie's second No. 1 UK single and his fastest-selling single. Bowie partially based the lyrics on his own experiences with drug addiction throughout the 1970s. An art rock, art pop and new wave song led by a flanged piano riff, the lyrics act as a sequel to Bowie's 1969 hit " Space Oddity": the astronaut Major Tom has succumbed to drug addiction and floats isolated in space. Co-produced by Bowie and Tony Visconti, it was recorded from February to April 1980 in New York and London and features guitar synthesiser played by Chuck Hammer. " Ashes to Ashes" is a song by English singer-songwriter David Bowie from his 14th studio album, Scary Monsters (and Super Creeps) (1980). From the album Scary Monsters (and Super Creeps) ![]()
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