Irish guitarist reveals secret role in new Bowie

KEN SWEENEY – 02 MARCH 2013
 

AN Irish guitarist has revealed how he ended up as musical director for David Bowie – playing on his first album in 10 years and co-writing tracks with the iconic rock star.

Gerry Leonard, from Clontarf, north Dublin, was at the centre of a team of musicians sworn to secrecy as they recorded Bowie’s new album ‘The Next Day’, which was played for the first time to journalists this week.

“I keep telling myself I’m just a guitar player from Clontarf, but it does seem a bit crazy when you have David Bowie singing in your kitchen and you can’t tell anyone about it,” the US-based musician told the Irish Independent.

He hadn’t played with Bowie since 2004, so the 51-year-old was shocked to get an email from the superstar in November of 2010 asking him to work on some demos.

“The subject line of the email was ‘Schtum’ and David asked me not to tell a soul. It was a huge pressure, but I realised if I could keep it quiet, I would be part of the wonderful process of David Bowie coming back to music,” said Leonard.

The musician told friends he was working with a new UK band when he travelled to Manhattan for sessions with Bowie and producer Tony Visconti between 2011 and 2013, with Bowie visiting his home at Woodstock in upstate New York.

“I’ve learned so much working with David. He doesn’t spend three days trying to get a drum sound, he just plugs in and plays. I’d describe him as a prolific writer which is handy for him because at least one of the tracks on the new record, he pulled out of a bag from the 1970s,” he said.

The video for ‘The Stars (Are Out Tonight)’, the latest single from the new album, has been released and shows Bowie coming face-to-face with his younger self.

It features Norwegian model Iselin Steiro who is seen dressed as Bowie in the late 1970s look he adopted for his ‘Low’ album sleeve.

The film also features screen star Tilda Swinton who plays the singer’s wife.

There are no plans by Bowie to tour the new album, but Leonard doesn’t rule it out.

A one-time member of Irish duo Hinterland, Leonard started life as a tape operator in Dublin studios Lombard Sound.

He moved to the US in 1997 and began working with Bowie after they were introduced by producer Mark Plati.

“At the start it was terrifying walking into a control room and meeting David. What broke the ice was he went to see me at a little gig I did in New York. There were only 50 people there, and they gave him a chair with a broken back to sit on, but he loved it and even started heckling me.”

Leonard first became Bowie’s live guitarist, and then toured the world with him as his musical director on his ‘Reality Tour’, which came to Dublin in 2003.

– See more at: http://www.independent.ie/entertainment/music/irish-guitarist-reveals-secret-role-in-new-bowie-album-29104394.html#sthash.QhenEyGR.dpuf

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David Bowie streams The Next Day album on iTunes

You can listen to all of David Bowie’s hotly anticipated comeback album for free at the iTunes store

David Bowie in his music video for Where Are We Now?

David Bowie in his music video for Where Are We Now?

Anyone wanting to hear the new David Bowie can do just that. The singer has placed all 53 minutes of The Next Day, his first album in a decade, on iTunes‘ streaming service.

Despite a slew of favourable reviews, until now fans have only been able to hear Bowie’s two comeback singles, Where Are We Now? and The Stars (Are Out Tonight). In general, the album follows the template set by the latter song – more often upbeat and rocking rather than somber and contemplative.

In his Guardian review of The Next Day, Alexis Petridis noted that several songs contained nods to the singer’s past, particularly the 1979 album Lodger: “The dense web of screaming feedback that ends Where Does the Grass Grow? recalls the climax of Boys Keep Swinging, while the fantastic If You Can See Me has some of the relentless propulsion of Move On.”

However he also noted that The Next Day deserves to be regarded as a fantastic record in its own right, saying: “The Next Day makes you hope it’s not a one-off, that his return continues apace: no mean feat, given that listening to a new album by most of his peers makes you wish they’d stick to playing the greatest hits.”

The album, the singer’s 24th, will not be available to buy until its official release date of 11 March. However, the stream will remain up until that time here.

The Next Day tracklisting

01. The Next Day 3:51
02. Dirty Boys 2:58
03. The Stars (Are Out Tonight) 3:56
04. Love Is Lost 3:57
05. Where Are We Now? 4:08
06. Valentine’s Day 3:01
07. If You Can See Me 3:16
08. I’d Rather Be High 3:53
09. Boss Of Me 4:09
10. Dancing Out In Space 3:24
11. How Does The Grass Grow 4:33
12. (You Will) Set The World On Fire 3:30
13. You Feel So Lonely You Could Die 4:41
14. Heat 4:25

Deluxe version bonus tracks:
15. So She 2:31
16. Plan 2:34
17. I’ll Take You There 2:44

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Tour troubles brew on the Suzanne Vega tour

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Words by Karac Kennedy

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David Bowie unveils new single The Stars (Are Out Tonight)

David Bowie’s new single, The Stars (Are Out Tonight), unveiled today with a short promotional film, is a return to business as usual after the weird understated beauty of his comeback, says Neil McCormick. (Warning: video contains nudity( YAY !).

After the weird understated beauty of David Bowie’s surprising comeback, his new single is a return to Bowie business as usual.

Taken from his forthcoming album The Next Day, it’s a swinging, urgent rocker with an edgy little lead guitar motif and the kind of swaggering one-note declamatory vocal Bowie has been pulling off since the days of Ziggy Stardust. The track’s driving forward momentum is counterbalanced by the melodic sweetness of Bowie’s own “ooh ooh” backing vocals, a sheen of swimming strings and a Motown-style bridge.

It really couldn’t be anybody else. And that’s before you even get to the subject matter: an acute, poetic comment on how celebrities have assumed the roles of minor Saints and Gods in our secular society.

It is, of course, a role Bowie himself occupies for many fans, a human being transfigured by fame into a celestial body, and his pithy lyric showers sympathy on each side of the divide. Although written from the point of view of a star-struck admirer on the wrong side of the red rope, whose life is mysteriously enhanced by this illusory relationship, he is well aware that the stars themselves are not what they seem behind the windows of their stretch limos, “gleaming like blackened sunshine”. They are “sexless and unaroused”, “broke and shamed or drunk and scared”.

There is a little cameo for “Brigitte, Jack, Kate and Brad” but it is interesting that Bowie counts himself out of the equation, just as he puts himself back in with a sharp, sexy promo film-cum-music-video, teasing us with ideas of Bowie both as an aging recluse and an ageless androgynous rock star. It is the return of the master, showing every other rock and roll star, old or young, how things should be done.

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