Earlier this month, David Bowie took the surprising step of penning an article for a national newspaper, defending his taste in music. As artistic director of this year's Meltdown festival at the South Bank centre, he had been riled by suggestions that his selections - including Suede, the Dandy Warhols, Coldplay and the Divine Comedy - were middle-of-the road. It is difficult to know where to place your sympathies. On one hand, Bowie's ire over the mockery aimed at Meltdown is understandable.
I like it very much as a stage piece; I like to play it on stage very much indeed. The songs seem to work very well. I also have some quite genuine favourite albums that I made in the Nineties, and I would put it alongside them for sure. In — Bowie had been working on the unreleased album Toy , a mix of new songs and re-recorded older compositions. Two songs from Toy made it on to Heathen.
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I'm tired of attending funerals for David Bowie's career. I mean, they're always pleasant, catered affairs, and I mean, they're always pleasant, catered affairs, and the chance to hobnob with a star-studded crowd of washed-up mourners like Lou Reed and Iggy Pop is undeniably great, but David never actually shows up. Critics have tried to write him off for more than a decade, and his work has been mostly sub-par even longer. But somehow, some way, he's managed to scrape together enough of the old Bowie charm on every release to keep alive the hope that he might just have one final hurrah left in him. Unlike some of his contemporaries I'm looking at you, Iggy , he might, conceivably, still have a fighting chance.
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