Music

David Bowie: A Reality Tour

This document of his 2003-04 tour is proof that the Thin White Duke is still in top form, and a reminder that he needs to tour again.


David Bowie

A Reality Tour

Label: ISO/Columbia/Legacy
US Release Date: 2010-01-26
UK Release Date: 2010-01-25
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The most surprising thing about A Reality Tour, a live album documenting David Bowie's titular 2003-04 tour, is that the Thin White Duke still sounds like the Thin White Duke. At the time of this recording, Bowie was 56 years old. Yet, listening to this recording, the man barely sounds a day past Station to Station. Bowie remains vital, spry, and preternaturally alluring. As always, he has surrounded himself with a stellar band that includes two of his greatest accomplices: pianist/keyboardist Mike Garson and guitarist Earl Slick. Over the course of two and half hours, Bowie and his band rip through 33 tracks that include his biggest hits (“Under Pressure” and “Rebel Rebel”) and deepest cuts (“Fantastic Voyage” and “Be My Wife”).

Another surprising thing about this album: many of Bowie’s newest compositions sound just as potent as the obligatory warhorses. While Reality -- Bowie’s most recent album and the impetus for the tour -- was certainly a solid LP, it’s nevertheless a shock that some of the best cuts on A Reality Tour (“New Killer Star” and “Never Get Old”) are from that album. Some of the selections from 2002’s Heathen (“Sunday” and “Afraid”) also benefit from the live context. Listening to A Reality Tour makes one thing abundantly clear: like Dylan, Bowie’s most recent material is worth giving a damn about.

Bowie revels in reclaiming material that he wrote for others (Iggy Pop’s “Sister Midnight” and Mott the Hoople’s “All the Young Dudes”) as well as covering those he admires (Pixies’ “Cactus”). During “Cactus”, he momentarily segues into T. Rex’s “Bang a Gong (Get It On)” as if he wanted to pull back the epidermis and expose the DNA connecting T. Rex, himself, and the Pixies. The biggest treat on A Reality Tour is hearing Bowie put his own stamp on the lurching, menacing “Sister Midnight”. Somehow, he manages to sound more lecherous than Iggy Pop.

After 37 years of wear and tear, you might expect “Five Years” to falter a bit, but it still absolutely soars. Bowie nails the resignation in the song’s direful lyrics, which feel heavier now than ever:

Pushing through the market square

So many mothers sighing

News had just come over

We had five years left to cry in

News guy wept and told us

Earth was really dying

Cried so much his face was wet

Then I knew he wasn’t lying.

Elsewhere, the songs that you expect to deliver do just that. It might be impossible to fuck up songs like “Ashes to Ashes” and “Heroes”, but there isn’t a second of either that feels phoned in. Bowie belts outs “I, I will be king / And you, you will be queen” like his next breathe of life depends on it.

My only real complaint about A Reality Tour is admittedly trivial. I’m a little shocked that there isn’t a single song from Aladdin Sane or Station to Station on here. Also, no “Let’s Dance”?! Regardless, A Reality Tour does what any great live album should: it fills you with envy if you missed the tour or serves as a superb audio keepsake if you made the tour. Towards the end of “Rebel Rebel”, the audience suddenly swells up to deliver the song’s immortal line: “Hot tramp, I love you so!” On A Reality Tour, Bowie proves that love is well-earned.

7

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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