redbookbowiegunThis entry consolidates all our cover tracks of The Man Who Sold the World album here for ease of access. Alternatively, the Vimeo channel is here. The images are clickable to the videos.

The whole notion of a music track can assume the stark dimensions of a tiny Black Iron Prison. Songs are not discrete start-and-stop affairs of specific duration, though we often end up thinking of them as such. The retail paradigm also requires units of sonic measure in order to sell product. In a certain sense, music tracks are a consumer trope, not an artistic one.

Rather songs bleed from one album to the next. We hear common refrains, ghosts of songs-past, glimmers of songs-future, prefigurements of impending songs, obdurate repetitions of earlier songs, etc. In these covers I use ‘codas’ where I felt the music was evoking another song or attempting to complete itself by reaching for another song; call them musical worm-holes.

At the end of the day, an artist’s body of work is fundamentally coherent. Beneath stylistic changes, there is always something unalterable if it is authentic. This is especially true of Bowie’s corpus where the questions and themes retain a remarkable consistency over a half-century of speculation. Consistency speaks to elemental truth and an immutable substrate. Justin Bieber, are you listening, even secretly?

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