Heathen (2002)
Seen as Bowie's comeback album after a patchy period from 1984 onwards,
Heathen was his biggest selling album for almost twenty years, and features some star guests such as Dave Grohl, Jordan Rudess and the legendary Pete Townshend performing on some of the songs. Although frequently linked with the attacks on New York in September 2001, Bowie has categorically denied any such link, at least any deliberate link, advising that all the songs were written before the attacks. His denial has not stopped critics lauding it though as perhaps as big a musical influence on 9/11 as Springsteen's
The Rising.
You don't often find cover versions on Bowie's albums, but
Heathen has three, of which more as we get to them. For now, the album opens on “Sunday”, a nice gentle easing into the album, with deep synth backing and Bowie's clear and unmistakable voice as ever in perfect nick. It's a very understated opening, almost a prequel to the album, and there's some weird but very effective sounds which I think may be an omnichord in the background, keeping pace with the synth. The drums come in hard right at the end, and the song then fades out too quickly I feel: just as it was getting going. Next one up is one of those covers I was talking about. It's the Pixies' “Cactus”, with acoustic guitar, little reminiscent of the arrangement for “Starman” before it picks up and electric kicks in, dramatic organ getting in on the act too. I'm not that familiar with the Pixies' work, but the song sounds ok. I'm not sure why an artiste of Bowie's calibre needs to include cover versions on his albums, but there you go. Maybe he likes the band.
Things slow down again and get all Eno-atmospheric for “Slip Away”, the longest track on the album at just over six minutes, with a very Ziggy-like vocal, nice Waits-style acoustic piano, choral vocals backing the thin white duke. This comes across to me as a very Roger Waters-era Floyd song, like maybe something out of
The Final Cut, and it has a nice gentle but dramatic feel to it. Pete Townshend shows up to play some fine guitar on “Slowburn”, ironically a more uptempo track, and indeed the first fast one (of his own) on the album so far. There's a soul/jazz feel to this, created in part by the Borneo Horns, consisting of Lenny Picket, Stan Harrison and Steve Elson.
“Afraid” has a kind of fifties rock guitar with some nice keyboard work from Jordan Rudess, and some lovely strings, and is the second uptempo track, very catchy. It's Dave Grohl then who straps on the strat for Neil Young's “I've Been Waiting for You”, a mid-paced hard rocker with Bowie in more “Diamond Dogs” voice, then “I Would Be Your Slave” bops along in a slower, more stately vein with some beautiful violin and viola (there are two violinists and one viola player on the album, and a cellist) and some programmed drums which really suit the song. Things change totally then for the last cover, “I Took a Trip On a Gemini Spaceship”, by the Legendary Stardust Cowboy, a huge influence on Bowie's early career, and instrumental in the creation of Ziggy Stardust. The Borneo Horns are back in town, and there's some pretty good funky guitar too, lots of spacey sound effects and a very seventies disco feel to the song, though I think it may be from the sixties: can't confirm that though.
There's a slowing of pace then for the somewhat introspective (I know: one of my favourite words! Buy a thesaurus: I have one, but I don't like using it as it runs the batteries down!) “5:15 the Angels Have Gone” with some very “In the Air Tonight”-style moaning keyboards from Rudess, and some gentle piano. The pace kicks up a little then for the semi-balladic “Everyone Says Hi”, with some really smooth strings arrangements, Bowie's voice very soft and restrained in a musical postcard song, and “A Better Future” is a pleasant rock/pop song, with bright, happy keyboards, an infectious bassline and again Bowie singing in a sort of intoned way. The album then ends on the title track, and “Heathen (The Rays)” veers between downbeat synthpop and a guitar riff out of “Rebel Rebel”, with Bowie at his impassioned and tortured best.
It's clear to see why this was his best-received album since 1984. It's a lot more commercial and accessible than the likes of
Outside, Earthling, Never Let Me Down or
Black Tie White Noise, or indeed the two Tin Machine albums. It's got some near-classics on it, and even though it's almost perfectly crafted music, it's evidence - if any were needed - of an artist who does this effortlessly and flawlessly, almost as an afterthought. A man who can create beautiful music that lasts the test of time hardly without thinking about it. It's instinctive, it's natural, it's second nature. It's David Bowie, and this is one great album that returns him to the top of the tree, where he belongs, and always has done.
TRACK LISTING
1. Sunday
2. Cactus
3. Slip Away
4. Slowburn
5. Afraid
6. I've Been Waiting for You
7. I Would Be Your Slave
8. I Took a Trip On a Gemini Spaceship
9. 5:15 the Angels Have Gone
10. Everyone Says Hi
11. A Better Future
12. Heathen (The Rays)
Rating: 9.0/10