Over fifty-one years ago, in July 1969, David Bowie released the groundbreaking “Space Oddity” single. As the music world waited for a similar tune or collection of folk-tinged psychedelica, what Bowie did next was something even the hierarchy in the business did not anticipate. His attention focused towards the full rock band sound, in turn creating The Hype, an early incarnation of The Spiders From Mars. Consisting of Bowie’s two main foils of the day, producer Tony Visconti on bass and the late great Mick Ronnson on guitar. Finally adding future Spiders drummer Mick Woodmansey to complete the lineup.
With this backing band, the young David Bowie relocated to Trident Studios in London to lay down the foundations for future sub-genres of rock, including Goth, Grunge, Indie and even Metal. This was the ignition of Bowie’s classic string of seventies albums, the genesis of it all. While The Man Who Sold The World may not top the category of the best-of David Bowie albums, it should certainly be categorized as his most influential and important work. His very own The Velvet Underground & Nico moment. At the last minute, the original working title Metrobolist was changed to The Man Who Sold Thd World. But now it is back, in it’s intended form, in 180g black vinyl edition and a 2020 limited edition of handwritten numbered copies on gold vinyl (# 1971 – 2020) and on white vinyl (# 1 – 1970).
The name change may confuse casual fans, who may not realise the importance of this repackaging and name change. That original title Metrobolist, a play on Fritz Lang’s 1927 classic film Metropolis, was changed at the last minute by Mercury without Bowie’s consent. Regardless, this 2020 re-release has been remixed by original producer Tony Visconti, with the exception of the track ‘After All’ which Tony considered perfect as is, and is featured in its 2015 remaster incarnation. With its sonic driven and heavy guitar work, the resulting album may have only taken a month to record, and that one month in time has had a lasting appeal which has resonated through the following five decades. The influence noted with a rediscovery, when on the 1994 album MTV Unplugged, Nirvana performed a version of the title track. Indeed, the influence of the album inspired elements of work by Siouxsie and the Banshees, The Cure, Gary Numan and even Nine Inch Nails.
In reality, Metrobolist could easily be a Mick Ronson solo album, as much as a David Bowie album. His guitar work dominates the album, from the simple effective riff of the title track, the pure sleaze grunge driven “She Shook Me Cold” ,and the albums opener “The Width Of A Circle”. The latter contains one of the finest solos Ronson recorded, a feedback driven masterpiece, effective and controlled. The perfect centerpiece to David Bowie’s lyrics, his ego-less stance while letting the band work their magic.
“Black Country Rock”, the limp branch on the tree which gives a breather to the album, a Marc Bolan inspired, early Blues and Glam Rock blend. Deadly with its simple repeated lyrics, encapsulating all of what Glam was. But although the music was nailed before the studio, the lyrics were added at the last minute, which adds to that loose and free sound. The closing vibrato in Bowie’s voice is a true tribute to Bolan, the close friend and competitor. “After all” is Goth meets sixties rock, this time by way of occultist Alister Crowley. With talk of mystic re-births and so on, again the dark themes that echoed on the previous track continue here. A sinister childhood nightmare made real against a waltzing score. Pushing boundaries of taste, and what the listener will languish in has always been a talent of Bowies. The following two tracks,”Saviour Machine” and “Running Gun Blues” delve into the concept of war, and the talk of the day which was Vietnam. Bowie takes the view of victims coming home from war, both shell-shocked and obsessed with killing to the point they don’t want to stop. Although these themes are strong they are still not as disturbing as the circus hell that is “After All”.
Drenched in an immoral context, “She Shook Me Cold” is a song that puts other guitar bands of the time to shame. It’s brilliance lies in its hard rock glory, and Mick Ronson’s guitar which screams as if part of some forced sexual encounter. Leading nicely into the name-change title track, “The Man Who Sold The World”. A song, which for David Bowie at this point in his career is significant as it deals with personal self-discovery “I searched for form and land” along with an almost schizophrenic view of life “We Never Lost Control”. A character building exercise in which Bowie would immerse himself all in with two years later, and the birth of Ziggy Stardust. The closer, and still keeping within the album’s theme is “The Supermen”. An apocalyptic vision styled from Friedrich Nietzsche or simply Bowie using sinister imagery once more of how everything must die, even Gods. Whatever your feelings may be on this type of repackaging, this one is excellent, and a nostalgic tribute to an album that still rocks.
