Then the other instrumentalists in this case, lead guitarist Earl Slick and E Street Band keyboard player Roy Bittan would add their parts, before Bowie would finally record his vocals.
And the different ways we were looking at arrangements allowed David to look at the music the way he looks at words, which is to cut them up. As always, Bowie worked feverishly. Musicians got used to being called into the studio at any time of day. They search the whole place and find me at a back table.
I mean, that was not an unusual thing to happen. We were just talking about you. I saw him play at a little roadhouse in Houston about three weeks ago! Bowie claimed that he wrote the song for Elvis Presley, who turned it down; it would go on to become a Top 10 hit in both the U. After several stately, cryptic verses, a celebratory groove suddenly erupts, leading into a lengthy, wild outro. The songs that close each side of Station to Station had a very different tone. They were a release moment so that he could actually cry — there was pain there, and he was able to open up on those songs.
By November , the album was finished. Following his three Los Angeles arena shows in February , he packed up the house in Bel Air and moved back to Europe — first to Switzerland, and then to Berlin for the next chapter in his musical evolution. Newswire Powered by. Close the menu.
Rolling Stone. Log In. To help keep your account secure, please log-in again. You are no longer onsite at your organization. The album's lyrics reflected his preoccupations with Friedrich Nietzsche , Aleister Crowley , mythology and religion. Drawing on funk and krautrock , romantic balladry and occultism , Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable".
Following its release, Bowie supported the album on the Isolar tour , where he often performed in character as the Thin White Duke. Upon its completion, Bowie moved to Berlin in order to escape the drug culture of Los Angeles. The musical styles explored on Station to Station would culminate in some of Bowie's most acclaimed work with the " Berlin Trilogy " over the next three years.
In , the album was ranked No. It has since been reissued multiple times and was remastered in as part of the Who Can I Be Now? According to biographer David Buckley, the Los Angeles-based Bowie, fuelled by an "astronomic" cocaine habit and subsisting on a diet of peppers and milk, spent much of —76 "in a state of psychic terror".
At Bowie's recommendation, John Phillips of the Mamas and the Papas would write and produce all the original music for the film instead. With Roeg's agreement, Bowie developed his own look for the film, and this carried through to his public image and onto two album covers over the next twelve months, as did Newton's air of fragility and aloofness.
The Thin White Duke became the mouthpiece for Station to Station and, often during the next six months, for Bowie himself. Impeccably dressed in white shirt, black trousers and waistcoat, the Duke was a hollow man who sang songs of romance with an agonised intensity, yet felt nothing—"ice masquerading as fire".
Tony Visconti , who after a three-year absence had recently returned to the Bowie fold mixing Diamond Dogs and co-producing David Live and Young Americans , was not involved due to competing schedules. The recording process developed with this team set the pattern for Bowie's albums up to and including Scary Monsters and Super Creeps in backing tracks laid down by Murray, Davis and Alomar; saxophone, keyboard and lead guitar overdubs here by Bowie, Roy Bittan and Earl Slick , respectively ; lead vocals; and finally various production tricks to complete the song.
I think it captured his imagination to make noises on guitar, and textures, rather than playing the right notes. We experimented so much on it".
Bowie himself remembered almost nothing of the album's production, not even the studio, later admitting, "I know it was in LA because I've read it was". We were in the studio and it was nuts—a lot of hours, a lot of late nights.
The sleeve front cover used a black-and-white still from The Man Who Fell to Earth , in which Bowie, as the character Thomas Jerome Newton, steps into the space capsule that will return him to his home planet. The back cover showed Bowie sketching the Kabbalah Sephirot with chalk—something he had been doing on the set of the film. Station to Station is often cited as a transitional album in Bowie's career. It ties off the era of Ziggy Stardust and plastic soul, and introduces the first taste of the new music that was to follow with Low.
More recently Bowie had begun to soak up the influence of krautrock and electronic music by bands like Neu! Writer David Sheppard described the music of Station to Station as "glacial, synthesized funk-rock.
The musical style of "Golden Years", the first track recorded for the album, built on the funk and soul of Young Americans but with a harsher, grinding edge. It has been described as carrying with it "an air of regret for missed opportunities and past pleasures". The Christian element of the album was most obvious in the hymn-like "Word on a Wing", though for some commentators religion, like love, was simply another way for the Duke to "test his numbness".
I'm sure that it was a call for help". The title track has been described as heralding "a new era of experimentalism" for Bowie. Speaking to Creem magazine in , Bowie proclaimed that Station to Station was "devoid of spirit Even the love songs are detached, but I think it's fascinating. Every song on Station to Station eventually appeared on a single.
Bowie allegedly got drunk to perform it on TV for the American show Soul Train ,  resulting in the film clip seen on music video programmes. The title track was released as a promo 7-inch single in January The single was exclusively released in France and featured a shortened version of the track, lasting just over three-and-a-half minutes, on the a-side as well as the album version of "TVC 15" on the b-side.
Harry Maslin and Carlos Alomar have claimed that they never recorded the song during the Cherokee sessions, while Tony Visconti believes that the song most likely consisted of overdubs to a track originally cut at Olympic and Island Studios during the Diamond Dogs sessions, with Aynsley Dunbar on drums, Herbie Flowers on bass and Mike Garson on keyboards.
Station to Station was released in January and reached No. In a contemporary review, Billboard considered that Bowie had "found his musical niche" following songs like " Fame " and "Golden Years" but that "the minute title cut drags", while NME called it "one of the most significant albums released in the last five years", later naming it the second greatest album of the year.
I was so furious, I'd put so much work into it. The singer eventually collapsed, admitting later, "There were pieces of me laying all over the floor". After abandoning the soundtrack album, Bowie went on tour in support of Station to Station , commencing 2 February and completing on 18 May A black-and-white movies look, but with an intensity that was sort of aggressive.
I think for me, personally, theatrically, that was the most successful tour I've ever done. Bowie drew criticism during the tour for his alleged pro-fascist views. In a interview he had declared, " Adolf Hitler was one of the first rock stars He staged a country",  but managed to avoid condemnation.
On the Isolar Tour, however, a series of incidents attracted publicity, starting in April with his detention by customs in Eastern Europe for possession of Nazi memorabilia. The same month he was quoted in Stockholm as saying that "Britain could benefit from a Fascist leader". Bowie claimed that the photographer simply caught him in mid-wave,  a contention backed by a young Gary Numan who was among the crowd that day: "Think about it. If a photographer takes a whole motor-driven film of someone doing a wave, you will get a Nazi salute at the end of each arm-sweep.
All you need is some dickhead at a music paper or whatever to make an issue out it Station to Station was a milestone in Bowie's transition to his late s ' Berlin Trilogy '. Bowie himself has said of the album, "As far as the music goes, Low and its siblings were a direct follow-on from the title track",  while Brian Eno opined that Low was "very much a continuation from Station to Station ".
More than twenty years after its release, Bowie considered both Station to Station and Low "great, damn good" albums, but due to his disconnected state during its recording, listened to Station to Station "as a piece of work by an entirely different person".
First, there's the content, which nobody's actually been terribly clear about. The "Station to Station" track itself is very much concerned with the stations of the cross. All the references within the piece are to do with the Kabbalah. It's the nearest album to a magick treatise that I've written. I've never read a review that really sussed it. It's an extremely dark album. Miserable time to live through, I must say. In , music biographer David Buckley described Station to Station as a "masterpiece of invention" that "some critics would argue, perhaps unfashionably, is his finest record".
Bowie rerecorded "Stay" while rehearsing for his Earthling Tour ; recorded in early and mixed in mid, "Stay '97" remained unreleased until when it was included on Is It Any Wonder? The album has been released several times on CD, the first being in by RCA , with the original black-and-white cover art. The album was released again in by Rykodisc , with two, live bonus tracks; a rerelease by EMI featured bit digitally remastered sound, but lacks bonus tracks.
The album was rereleased by EMI in Special and Deluxe Editions in , both of which presented the album in a mini-LP replica sleeve, within a larger box. The Deluxe Edition included stereo and surround sound remixes of the album by coproducer Harry Maslin. The box set includes both the original mix and the stereo remix of Station to Station , individually packaged in mini LP sleeves.
The mix uses the original cover art, while the mix uses a color-corrected version of the front cover art; the back cover of the mix's sleeve is a variant of the back cover, with burgundy text in place of bright red. The original cover art is also used for the standalone CD release of the album, which only includes the mix. All songs written by David Bowie , except where noted.
A special edition and deluxe edition of the album were released in , including the entire Nassau Coliseum show on two CDs on both versions and a Dolby 5.
The special edition features three CDs in a special CD sized packaging, including a page booklet and three photocards. The digital download edition includes the same audio content and a bonus track.
The deluxe edition features five CDs, one DVD and three 12" LPs in a sturdy box lined with studio-style acoustic foam reminiscent of the sleeve photo background. It also includes a page booklet, a poster and two folders of replica collectible material. LP 1: heavyweight 12" of Station to Station from the original stereo analogue master in replica sleeve. Albums credits per the liner notes and biographer Nicholas Pegg.
From Wikipedia, the free encyclopedia. This article is about the David Bowie album. For the album's title track, see Station to Station song. For other uses, see Station to Station disambiguation. David Bowie. Mojo Classic 60 Years of Bowie ed.
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