"Watch That Man" is a song by the English musician David Bowie, the opening track on the album Aladdin Sane from 1973. Its style is often compared to the Rolling Stones' Exile on Main Street.[8][6][9] The mix, in which Bowie's lead vocal is buried within the instrumental sections, has generated discussion among critics and fans.[8][10]
| "Watch That Man" | |
|---|---|
| Song by David Bowie | |
| from the album Aladdin Sane | |
| Released | 19 April 1973[a] |
| Recorded | January 1973 |
| Studio | Trident, London |
| Genre | |
| Length | 4:25 |
| Label | RCA |
| Songwriter(s) | David Bowie |
| Producer(s) | Ken Scott, David Bowie |
Recording
editWith the release of his album The Rise and Fall of Ziggy Stardust and the Spiders from Mars and his performance of "Starman" on the BBC television programme Top of the Pops in early July 1972, David Bowie was launched to stardom.[11] To support the album, Bowie embarked on the Ziggy Stardust Tour in both the UK and the US.[12][13] He composed most of the tracks for the follow-up record on the road during the US tour in late 1972.[14] Because of this, many of the tracks were influenced by America, and his perceptions of the country.[15]
"Watch That Man" was written in response to seeing two concerts by the American rock band New York Dolls. According to author Peter Doggett, the Dolls' first two albums were important in representing the American response to the British glam rock movement. Bowie was impressed with their sound and wanted to emulate it on a song.[16][1] "Watch That Man" was recorded at London's Trident Studios in January 1973, following the conclusion of the American tour and a series of Christmas concerts in England and Scotland.[17][18] Like the rest of its parent album, the song was co-produced by Bowie and Ken Scott and featured Bowie's backing band the Spiders from Mars – comprising guitarist Mick Ronson, bassist Trevor Bolder and drummer Woody Woodmansey.[19][20]
Production
editNME editors Roy Carr and Charles Shaar Murray considered "Watch That Man" the prime example of a collection of songs on Aladdin Sane that were "written too fast, recorded too fast and mixed too fast". They remarked on the "hurried shoddiness" of its production which "doesn't even sound like a finished mix".[8] Co-producer Ken Scott however, speaking in 1999, defended the mix as the result of careful deliberation:[10]
'Watch That Man' was very much a Stones-sounding thing, with the vocal used as an instrument rather than as a lead. When it came to mixing the track, to get the sort of power of it, I just put everything up front, which meant losing the vocal. So I did the mix the way I felt. When we delivered the tapes of the album, I heard from MainMan, 'Great, but can we get another mix on "Watch That Man" with the vocal more up front so we can hear a bit more of David?' So I said, 'Fine,' and did the mix with David more up front. The problem though is that with the vocal more up front, the other instruments have to drop back. Then, a couple of weeks later, I get a phone call from RCA, and they said 'You were right in the first place. We'll go with the original.'
The label and Bowie's publisher MainMan initially requested a new mix with Bowie's vocal more upfront, but after Bowie and Scott complied, it was deemed inferior to the original.[1][21]
Music and lyrics
editAccording to author Nicholas Pegg, "Watch That Man" could be taken as "one of Bowie's most calculated changes of direction", to a more Stones-inspired dirty rock sound. Bowie himself suggested in the year of its release that it was a reminiscence of his introduction to the drug-fuelled American tour experience of late 1972.[6] Rolling Stone magazine called it "inimitable Stones, Exile vintage. Mick Ronson plays Chuck Berry licks via Keith Richards, Garson plays at being Nicky Hopkins, Bowie slurs his lines, and the female backup singers and horns make the appropriate noises."[9]
Live versions
edit- It was the third track on the live album Ziggy Stardust: The Motion Picture from the farewell concert at the Hammersmith Odeon, London, on 3 July 1973.[22]
- A live version from the 1974 tour was released on David Live.[23] This version was also released on the Sound + Vision box set and on the album Rock Concert.
Other releases
edit- It was the B-side of the Italian release of the single "Let's Spend the Night Together" in June 1973.
- It appeared on the Japanese compilation The Best of David Bowie in 1974.
Cover versions
edit- Lulu recorded the song in July 1973, releasing it as the B-side of the single "The Man Who Sold the World", another Bowie track, on 11 January 1974. The band included Bowie on guitar, sax and backing vocals, Mick Ronson on guitar, Trevor Bolder on bass, Mike Garson on piano, and Aynsley Dunbar on drums. Produced by Bowie and Ronson, it has been described as having "a mix and backing vocal performance that easily outstrips the original".[24] Lulu's cover of "Watch That Man" was also released on the albums From Crayons to Perfume, Heaven and Earth and the Stars and David Bowie Songbook (various artists).
Personnel
editAccording to Chris O'Leary:[1]
- David Bowie – lead vocal
- Mick Ronson – lead and rhythm guitar
- Trevor Bolder – bass
- Mick "Woody" Woodmansey – drums
- Mike Garson – piano
- Ken Fordham – saxophone
- Linda Lewis – backing vocals
- G.A. MacCormack – backing vocals
- Juanita "Honey" Franklin – backing vocals
Production
- David Bowie – producer
- Ken Scott – producer, engineer
Notes
edit- ^ There is some debate about the release date. Previously reported as 13 April 1973,[1][2] in 2018, Bowie's official website stated that new evidence had come to light proving that the official release date was 20 April 1973, but because this was Good Friday (a public holiday in the UK), the album was made available on 19 April.[3] According to Benoît Clerc's book David Bowie All the Songs (2022), the US release date was 13 April and the UK release date was 19 April.[4]
References
edit- ^ a b c d O'Leary 2015, chap. 6.
- ^ Cann 2010, p. 291.
- ^ "Aladdin Sane 45th anniversary silver vinyl due". David Bowie Official Website. 14 February 2018. Archived from the original on 16 February 2018. Retrieved 15 February 2018.
- ^ Clerc 2022, p. 159.
- ^ Thompson 2010, p. 26.
- ^ a b c Pegg 2016, pp. 302–303.
- ^ Perone 2007, p. 34.
- ^ a b c Carr & Murray 1981, p. 54.
- ^ a b Gerson, Ben (19 July 1973). "Aladdin Sane". Rolling Stone. Archived from the original on October 14, 2007.
- ^ a b Buckley 2005, pp. 156–163.
- ^ Pegg 2016, p. 347.
- ^ Cann 2010, p. 268.
- ^ Pegg 2016, pp. 361–362.
- ^ Buckley 2005, p. 157.
- ^ Pegg 2016, p. 362.
- ^ Doggett 2012, pp. 187–188.
- ^ Cann 2010, p. 283.
- ^ Pegg 2016, pp. 547–548.
- ^ O'Leary 2015, chap. 3.
- ^ Gallucci, Michael (13 April 2018). "How David Bowie Returned, Ziggy-Like, for 'Aladdin Sane'". Ultimate Classic Rock. Archived from the original on 30 April 2020. Retrieved 18 August 2022.
- ^ Cann 2010, pp. 292–295.
- ^ Viglione, Joe. "Ziggy Stardust: The Motion Picture". AllMusic. Archived from the original on 24 April 2019. Retrieved 10 March 2020.
- ^ Erlewine, Stephen Thomas. "David Live – David Bowie". AllMusic. Archived from the original on 24 April 2019. Retrieved 10 March 2020.
- ^ Carr & Murray 1981, p. 118.
Sources
edit- Buckley, David (2005) [1999]. Strange Fascination – David Bowie: The Definitive Story. London: Virgin Books. ISBN 978-0-75351-002-5.
- Cann, Kevin (2010). Any Day Now – David Bowie: The London Years: 1947–1974. Croydon, Surrey: Adelita. ISBN 978-0-95520-177-6.
- Carr, Roy; Murray, Charles Shaar (1981). Bowie: An Illustrated Record. London: Eel Pie Publishing. ISBN 978-0-38077-966-6.
- Clerc, Benoît (2022). David Bowie All the Songs: The Story Behind Every Track. New York City: Black Dog & Leventhal. ISBN 978-0-7624-7471-4.
- Doggett, Peter (2012). The Man Who Sold the World: David Bowie and the 1970s. New York City: HarperCollins Publishers. ISBN 978-0-06-202466-4.
- O'Leary, Chris (2015). Rebel Rebel: All the Songs of David Bowie from '64 to '76. Winchester: Zero Books. ISBN 978-1-78099-244-0.
- Pegg, Nicholas (2016). The Complete David Bowie (Revised and Updated ed.). London: Titan Books. ISBN 978-1-78565-365-0.
- Perone, James E. (2007). The Words and Music of David Bowie. Westport, Connecticut: Greenwood Publishing Group. ISBN 978-0-27599-245-3.
- Thompson, Dave (2010). Hallo Spaceboy: The Rebirth of David Bowie. ECW Press. ISBN 978-1-55490-271-2.