A lightning bolt streaks across David's face; on the inside cover the lad is air-brushed into androgyny, a no less imposing figure for it. Though he has been anointed to go out among us and spread the word, we find stuffed into the sleeve, like dirty underwear, a form requesting our name, address, "favorite film and TV stars," etc., plus $3.50 for membership in the David Bowie Fan Club (materials by return mail unspecified).
Such discrepancies have made David Bowie the most recently controversial of all significant pop artists—all of it owing to the confusion of levels on which he operates. His flamboyant drive for pop-star status has stamped him in many
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people's eyes a naked opportunist and poseur. But once it is recognized that stardom represents a metaphysical quest for Bowie, one has to grant at least that the question of self-inflation is in his case unconventional.
The twin impulses are to be a star (e.g., Jagger) and to be a star (e.g., Betelgeuse). The Rise and Fall of Ziggy Stardust and the Spiders from Mars depicted an impending doomsday, an extraterrestrial visitation and its consequences for rock and society. Although never so billed, Ziggy was a rock opera, with plot, characters and musical and dramatic momentum. Aladdin Sane, in far less systematic fashion, works over the same themes—issuances from the Bowie schema which date back to The Man Who Sold the World. Bowie is cognizant that religion's geography—the heavens—has been usurped, either by science or by actual beings.
If by conventional lights Bowie is a lad insane, then as an Aladdin, a conjurer of supernatural forces, he is quite sane. The titles may change from album to album—from the superman, the homo superior, Ziggy, to Aladdin—but the vision, and Bowie's rightful place in it, remain constant. The pun of the title, alternately vaunted and dismissive, plays on his own sense of discrepancy. Which way you read it depends upon whether you are viewing the present from the eyes of the past or the future.
Bowie's program is not complete, but it involves the elimination of gender differences, the inevitability of Armageddon, and the conquering of death and time as we know them. Stardom is the means towards attaining a vantage point from which to foresee, and an elevation from which to lead. The awesome powers and transformations civilization associates with heaven and hell will be unleashed on earth.
Aladdin Sane
The title song is this album's "Five Years." Ominously, within parentheses after the title, are the dates "1913-1938-197?" The first two are the years before the outbreak of the first and second World Wars, respectively, and we have no reason to think that 197? represents anything but a year prior to the date of the third. The music is hothouse orientalism, jagged, dissonant and daring, yet also wistful and backward-looking. Phrases lik
Bowie's follow up to Ziggy Stardust casts a warped Glam Rock net over 1970s America. Simultaneously theatrical and experimental, this album contains such key tracks as "The Jean Genie," "Panic in Detroit," and "Drive-In Saturday.
Bowie's paranoid, surreal tour of America (a land where revolutionaries become media stars and faded matinee idols become grotesque monsters) gets a bonus disc full of live cuts, alternate takes and rarities. The best of the extra tracks includes "All the Young Dudes" (a hit penned for Mott the Hoople) and a different version of "John I'm Only Dancing.
