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Never Let Me Down: Difference between revisions
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The album’s singles are valiant enough attempts; it’s just not clear at what: ''Day In, Day Out'' matches muscular disco pop with (er) stinging political invective in a lively but scoreless draw. It’s always been a pleasure to be lectured on homelessness by a fellow with a chateau in Geneva. ''Time Will Crawl'' has a pretty tune, though it gallops like an unbroken mustang, but ''means'' nothing. I mean, “Time will crawl until the twenty first century lose”? What is that supposed to mean? It doesn’t even make sense. | The album’s singles are valiant enough attempts; it’s just not clear at what: ''Day In, Day Out'' matches muscular disco pop with (er) stinging political invective in a lively but scoreless draw. It’s always been a pleasure to be lectured on homelessness by a fellow with a chateau in Geneva. ''Time Will Crawl'' has a pretty tune, though it gallops like an unbroken mustang, but ''means'' nothing. I mean, “Time will crawl until the twenty first century lose”? What is that supposed to mean? It doesn’t even make sense. | ||
From there, | From there, it’s a depressingly downhill journey. The high points are anaemic pop. The low points are almost too ghastly to catalogue: a mystical, eastern-influenced, Spinal-Tapular disco about a Chinese glass spider (around which Bowie based his entire world tour) and poor old Mickey Rourke’s anti-crack rap. Not for the first time, Bowie props up a flaky album with a tough Iggy Pop cover, but it is too little, too late to save this album. When it gets to ''’87 and Cry'' the man sounds categorically out of ideas. “It’s just a one dollar secret,” Bowie sings. But no-one’s let him in on what it is. | ||
Curiously, the two best songs from the session were left off the album altogether. ''Julie'' and ''Girls'' , both genuinely good Bowie tunes, only saw the light of day as B-Sides. For my money they both blow out of the water everything that did make the album. | Curiously, the two best songs from the session were left off the album altogether. ''Julie'' and ''Girls'' , both genuinely good Bowie tunes, only saw the light of day as B-Sides. For my money they both blow out of the water everything that did make the album. | ||