Although this thread is no where near over yet, I Just wanted to say thank you to everyone for all your input so far. Really interesting points of view. My next track post coming soon
I suspect that's because the "Panic in Detroit people" are more like me, in that they almost never rate individual tracks. It's mostly the "Jean Genie People" who do that.
It's probably my second-favorite song on the LP (behind the title track). One thing that might be worth mentioning is that Bowie didn't use a lot of female backup singers on his albums, because he'd record demos of everything and then not want to deviate from them (a lot of solo artists who perform mostly their own stuff are like that). So, he'd have to be cajoled by his producers into having backup singers, and for Aladdin Sane he had two of the best in the business, Juanita Franklin and Linda Lewis, who had a huge positive impact on this track and "Watch That Man," but hardly any others. It's similar to the situation with Heathen, when he had (or at least had access to) Kristeen Young, who was making her own album in the same studio with the same producer (Tony Visconti) at the same time. But despite her being one of the finest female singers alive, and right there in the same studio, Bowie had her do almost no backup vocals at all, just some piano. Though juyst as an aside, he did also record a duet with her called "Saviour" for her album (Breasticles), but I might not even have noticed that if it hadn't been for this thread, since of course I never, ever use the internet to look up words like "breasticles." Or "saviour," for that matter. Because, you know, I prefer the American spellings.
🤣 I think some tracks as well lend themselves to being played loud and through a decent sound system and this is one of them.
I’m not a huge fan of the cabaret / music hall (or Burlesque vamp as one critic described it) opening but I get it and it does work well for dramatic effect.
The track is dominated by Mike Garsons piano, but Mick does have some great guitar moments here although they are, for the most part, a little in the background.
Got to say, I like it, but don’t love this track but I think that it fits into the album rather well.
To be honest, this track leaves me a bit cold. It’s not bad, it’s just got no standout moments for me.
As many if not most tracks on the album it Has a nice, in this case, laid back guitar solo from Mick although on this occasion, it’s a “copy” of Marc Bolans guitar solo on the original recording.
Honestly though, Ronson was just a better guitar player. His playing on the album version is significantly more expressive and tight with the rhythm section, even if he doesn't change the part all that much.
Honestly though, Ronson was just a better guitar player. His playing on the album version is significantly more expressive and tight with the rhythm section, even if he doesn't change the part all that much.
Totally agree about Ronson being the better guitarist. Really, there's no comparison between the two. I just found his playing here not to be at the same level as on some other tracks on the album. To be clear. I think that Ronson is a genius and up there with the best guitarist of all time.
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