Meet iggy pop and david bowie kraftwerk k9

meet iggy pop and david bowie kraftwerk k9

David Bowie, Iggy Pop, Madonna & Asparagus: Kraftwerk In . oft-quoted meeting between Ralf and Florian and Bowie and Iggy: 'It was. David Bowie, one of the most influential rock musicians of the last fifty years, passed After hearing “Tutti Frutti, Bowie exclaimed “I had heard God,”; “Hound Dog” Lou Reed and Iggy Pop, producing what biographer Christopher Sandford called period, bore the influence of the German rock groups Kraftwerk and Neu!. Kraftwerk – Trans-Europe Express Lyrics. Trans-Europe Express Trans-Europe Express Meet Iggy Pop and David Bowie Trans-Europe Express Trans-Europe .

All of a sudden the door opens, David comes walking out. He had flawless white porcelain skin. A sight to be seen. My fear was gone. Perhaps even more nihilistic and glammy that its predecessor, it finds Bowie waxing campy about mortality, sex and America over piano and overdriven guitar on songs like "Time," "The Jean Genie" and "Cracked Actor. After touring Japan, tensions are high when the Spiders return to England due to the infrequent and inadequate payment they're receiving; they get cash when they need it on tour, but without paperwork and a payment schedule, it's hard to tell just how they're being compensated.

Bowie takes their asking for money as an insult and secretly makes a decision to kill off Ziggy Stardust and the Spiders from Mars. Only Ronson knows ahead of time; the rest of the band find out when Bowie tells the crowd, at the end of their July 5 show at the Hammersmith Odeon, "Not only is it the last show of the tour, it's the last show we'll ever do. A week later, Bowie flies to France with Mick Ronson to record Pinups, an record of cover songs from the s and earlier.

meet iggy pop and david bowie kraftwerk k9

By this point, Bowie has become addicted to cocaine, a substance that, in the early '70s, is ubiquitous and synonymous with good times and luxury; it's legal to take publicly, and isn't yet widely considered addictive. It's not hindering his creativity, either: By the time Pinups is released on October 19Bowie has already recorded new songs "" and B-side "Dodo" and is planning his own theatrical production of George Orwell's novel He enters the studio in late to record most of it himself or dictate to others how it should be played.

When Bowie is denied the book's rights by Orwell's widow, Sonia Blair, he refashions the songs into a loose narrative about a dystopian future world called Hunger City, in which nihilistic, violent teenagers run the streets. In lieu of the original stage production, Bowie plans for a tour with an elaborate stage setup that reflects the themes of the forthcoming record, titled Diamond Dogs. Toni Basil, who would later choreograph David Byrne's hand gestures in the Talking Heads' "Once in a Lifetime" video, is hired to choreograph dance routines for the tour; Jules Fisher, the lighting designer, is a Tony Award winner.

RCA provides a huge budget for the tour, based on Bowie's rising star and the insane demand for a tour. American fans who, based on his "last show" speech, think he's done with touring for good will be presented with his most extravagant show yet: The bridge is shipped to Toronto to be tested during tour rehearsal in early where, one night, it suddenly falls 15 feet with Bowie on it; though the production team is frightened, he's unharmed.

News of the tour is released to the public in the spring. Bowie's management company, MainMan, financially drained from the limos, studio time, expense accounts and cocaine, needs money, so he rushes out a single, "Rebel Rebel," in February.

Diamond Dogs, Bowie's darkest album yet and his last to flirt with glam rock, is released on May 24, The Diamond Dogs tour kicks off in Montreal on June 14, and it's an impressive affair: It's a spectacle mostly unseen in pop and rock performance, setting a new precedent for the potential of concert performance.

And yet, Bowie tires of it; when the first leg of the tour wraps, he retires the spectacle, opting for a stripped-back soul revue that reflects the direction of his next album.

Led by RCA studio guitarist Carlos Alomar, Bowie's been making trips into the Bronx to absorb the unique culture there, and he and Alomar become close friends. Alomar brings in his old high school classmate, an then-unknown singer named Luther Vandross, to contribute to the recording of the song "Young Americans"; Vandross suggests that it needs backing vocals, and Bowie is impressed by his instincts.

The Week David Bowie Met Lou Reed, Iggy Pop and Andy Warhol: An Inside Look

The two co-write a song called "Fascination" for Young Americans. You're going to make it.

meet iggy pop and david bowie kraftwerk k9

Bowie's gone disco, ahead of the curve — it will be years before such a thing is rendered acceptable by the Bee Gees and Saturday Night Fever, to uncomfortable white American audiences. David Live, a live album that captures a night of Bowie's Diamond Dogs tour, is released at the end of October.

The film depicts Bowie at his most manic yet, subsisting on cocaine, milk, peppers, coffee and cigarettes, and referring to himself in the third person. He makes a disastrous appearance on The Dick Cavett Show in which he's seen tapping a cane, seeming unable to make sense of Cavett's soft questions; it airs December 5.

Bowie invites John Lennon to New York's Power Plant, where he's recording a version of "Across the Universe"; while there, Carlos Alomar plays a riff for the two singers, who make up lyrics to new song "Fame" on the spot. Around this time, Bowie is growing more paranoid; he has little access to or control over his funds, and begins asking questions of his manager, Defries, about where his money is going. He hires a lawyer and, on January 29, heads to the RCA offices to tell them he's breaking with Defries.

When he receives a letter of severance a week later, Defries sends RCA an injunction to stop them from releasing Young Americans. The reported settlement is that Defries will own a piece of all of Bowie's recordings from through Corinne "Coco" Schwab becomes Bowie's new personal assistant; she was originally hired as a MainMan secretary on the recommendation of Angie, who by now has little to no contact with Bowie.

The Week David Bowie Met Lou Reed, Iggy Pop and Andy Warhol: An Inside Look

Young Americans is released March 7; produced mostly by the returned Tony Visconti, it's a sinuous, swaggering record that continues Bowie's flawless streak of innovative, stylish records. Left to his own devices, the paranoid Bowie, who's stopped going out entirely, has stashed all of the kitchen knives and sharp objects under the bed. He's reading Psychic Self-Defense and books about Aleister Crowley, the Nazis and Kirlian, a type of photography that allegedly captures one's aura; his only visitors are couriers, drug dealers and groupies.

Cocaine severs any link you have with another human being. I would work at songs for hours and hours and days and days and then realize after a few days that I had done absolutely nothing. Bowie takes the lead in Nicolas Roeg's film The Man Who Fell to Earth, an allegorical film about the corruptive power of greed that begins filming in July.

Roeg mostly stays out of Bowie's personal read: Upon the film's completion, Bowie returns to L. They rarely leave, and without windows and clocks, writing and recording continues unfettered.

The songs mix the funk and soul of Young Americans with the motorik rhythms of Neu! When Frank Sinatra comes to the studio, he and Bowie hit it off; Bowie contributes harmonies to one of Sinatra's tracks, and when Sinatra approves of Bowie's "Wild is the Wind" cover, Bowie decides to make it the final track of his forthcoming album, Station to Station.

In promotional appearances to tease the album's single "Golden Years" in latehe appears gaunt and unhealthy.

Kraftwerk K9 German shepherd impeccable door manners!

Following the album's release on January 23,Bowie plots the Isolar tour, which kicks off in Vancouver in February. The tour is austere and minimalist; Bowie dresses in a sharp black suit, introducing himself with the intro to "Station to Station": When Iggy Pop hits rock bottom, puking mysterious colours, Bowie asks Pop to accompany him on tour.

Bowie returns to London for a series of sold-out shows; on May 2, he arrives from Victoria Station in a Mercedes, from which he waves to fans and issues a Nazi salute. After newspapers report the incident, Bowie unfortunately follows it up by claiming, in an interview with Cameron Crowe, that "Britain is ready for a fascist leader… I think Britain could benefit from a fascist leader.

After all, fascism is really nationalism. I believe very strongly in fascism, people have always responded with greater efficiency under a regimental leadership. Adolf Hitler was one of the first rock stars. Bowie begins working with Pop on his solo debut, The Idiot. Bowie moves to Switzerland in late in an attempt to gradually wean himself off of cocaine. Eschewing schedules and traditional writing methods, Bowie delves into the painful experiences of the last few years during these sessions; encouraged by Eno's Oblique Strategy Cards a deck of inspirational cards, each with a suggestion like "Honour thy error as a hidden intention"he indulges his most left-field impulses.

Though the record is submitted before the end ofRCA are hesitant to release it for the Christmas season, putting it off until the new year. In Berlin, Bowie enjoys his relatively low profile, spending his free time in bookstores and the local pub.

He meets with Visconti and Eno at Hansa Studios regularly, where they continue the fruitful sessions and adhere to the creative philosophies that birthed Low; he's also working with Iggy Pop on his The Idiot followup, Lust for Life. The Berlin Wall, visible from Hansa Studios, casts a shadow over city life inand the sense of constantly being monitored heightens the emotion charge of the sessions. One day, inspired by seeing Visconti and his mistress embracing nearby, Bowie writes a song that imagines a couple living on either side of the divided Germany, forced to meet at the Berlin Wall.

Eno and Visconti set to work fleshing it out, and King Crimson guitarist Robert Fripp is flown out to contribute; his looping guitar riff provides the driving force of one of Bowie's greatest songs, "Heroes. Blondie are hired as the opening band. When Bowie returns to Berlin after the tour, he refocuses on Low follow-up "Heroes. It will become a holiday staple.

After deciding earlier in the year to finally divorce, Angie and Bowie throw a celebratory divorce party, though things will get complicated in the years to come. Bowie spends the rest of the year reconnecting with his son and rehearsing for his Isolar II world tour, preparing a set list that mixes Low and "Heroes" material with Ziggy Stardust hits. The tour kicks off in March and lasts until December; the set is recorded and released as a Tony Visconti-produced live album titled Stage in September, around the same time that Bowie heads into the Mountain Studios in Montreux, Switzerland to beginning recording the third and final album of his so-called Berlin triptych.

Though Eno will later claim that the spark behind Low and "Heroes" was "petering out" by this point, Lodger is only slightly more accessible than those records: Around this time, the recording of Lodger is finished in New York City. Bowie and Angie spend much of the year settling the terms of their divorce, which will be finalized in early With Klaus Nomi's help, Bowie performs captivating, high-concept renditions of "The Man Who Sold the World," "TVC15" and "Boys Keep Swinging" that feature a solid plastic tuxedo, a pink stuffed poodle and an oversized Bowie head atop a flailing puppet, respectively; it remains a landmark television event.

With the freaks and weirdoes being pushed out of punk by violent skinheads and National Front supporters, New Romanticism takes off. At recording studio the Power Station in New York, Bowie is fusing his inventive Berlin style with elements of this new sound and big, brash pop production. Meanwhile, punks transitioning to softer alternative music are finding Bowie's early and mid-'70s catalogue, causing something of a Bowie renaissance.

The event becomes so huge that eventually it's moved to the Blitz Club, where Strange works the door and enforces a strict no-norms policy that tightens further when publicity for turning away a drunken Mick Jagger makes the lines even longer. When Bowie shows up at the club one night, he asks Strange to round up four people to appear in his music video for forthcoming single "Ashes to Ashes. After rehearsing all summer, Bowie draws from his early mime and theatre experience to play John Merrick in stage play The Elephant Man from autumn until the end of the year.

Bowie is nearly unrecognizable onstage, committing fully to the part; critics praise his captivating performance, and between the reviews and word of mouth, the theatrical run quickly sells out. When Mark David Chapman is apprehended after murdering John Lennon on December 8, a program for The Elephant Man is found among his belongings, along with a photo he'd taken of Bowie; Chapman would later claim that he had plans to kill Bowie, who was second on his list after Lennon, and Bowie tightens his security.

Shaken, he returns to Switzerland in January ofwhere he stays mostly out of the spotlight for a few years to focus on raising his son. When Queen visit Montreux in July to record Hot Space, Bowie pays a visit, and the dignified but passionate anthem "Under Pressure" is written, recorded and mixed in a single day. It becomes a number one single shortly thereafter. Bowie collaborates with disco maven Giorgio Moroder that same month on "Cat People Putting Out Fire "; it will be released in early to coincide with the erotic horror film Cat People.

He takes a role as Catherine Deneuve's vampire companion in Tony Scott's The Hunger, and while the film has a cult following now, it's seen as a failure upon its release a year later.

By the end ofBowie has his eye on returning to music after his longest break between records yet. Happy, free from the grasp of drug addiction and determined to reinvent himself as a suit-wearing pop mega-star, he enlists famed producer and Chic founder Nile Rodgers an avowed David Bowie fan to produce his next album.

The choice hurts Tony Visconti, who won't record with Bowie for another 20 years. Rodgers and Bowie begin work at the Power Station in the winter, recording the songs Bowie has been writing for the past year, fusing funk, disco and new wave into a template that Rodgers will use later with artists like Madonna, Duran Duran, INXS and others. It soars to number one, setting the stage for the release of Let's Dance release on April It will become the best-selling album of his career, but at the time, it divides old and new Bowie fans.

In May, Bowie's gay following is dismayed when he refers to his early '70s sexuality as "youthful experimentation" in a Rolling Stone interview. Many see it as a betrayal that he used homosexuality as an accoutrement that he could shed, especially given the then-current AIDS epidemic. That same month, Bowie departs on the Serious Moonlight tour, hitting 15 countries over 96 performances between then and the year's end. MTV, by now an established cultural force, invites Bowie to an interview in which he grills VJ Mark Goodman about the channel's unwillingness to play videos by black artists.

Pennebaker's Ziggy Stardust and the Spiders from Mars concert film is finally released, a full decade after it's filmed at the Hammersmith Odeon in London on July 3, Bowie doesn't write while on tour, but despite being exhausted when he returns home at the end ofhe feels pressured by EMI to follow-up the success of Let's Dance, and immediately begins writing his next album. I had every intention of continuing to do some unusual material after that.

But the success of that record really forced me, in a way, to continue the beast. In the end, finally, they decided against co-productions; and they have their reasons. We loved him [David Bowie], and he loved us. He is a very mild man, he is an educated man. He has a very good aura, fantastic. We went to Frankfurt to see the Station To Station tour. It was so super-good with the wall of neon lights. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Most of it lazy analyses I believe. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralf were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio. The music was spontaneous for the most part and created in the studio. What is known is that the Bowie camp and the Kraftwerk camp were on friendly terms. We had a very nice time doing that!

They wear their suits. A bit like Gilbert and George, actually, God, whatever happened to those two? I used to really like them Folk music of the factories. There is also a German echo.

Trans-Europe Express (album) - Wikipedia

Publikation is out now on Omnibus Share this article: So he really wanted to meet Andy but he met me instead [laughs]. He came to the play a couple of times. He and I and his wife Angie became fast friends. This is the summer of and during that summer his manager Tony DeFries was also working on getting him a new record deal.

The play ended in the end of August.

I hung out with them the whole week they were there, showed them around New York, got them to The Factory to introduce David to Andy Warhol. We all marched over to The Factory. Nobody was really taking this conversation and running with it. So they were circling each other and then David gave him a copy of Hunky Dory on which was his ode to Andy Warhol, the song Andy Warhol.

Remember, David Bowie was not a big star. He was just some guy off the street as far as Andy Warhol was concerned. David was wearing yellow Mary Janes and Andy had been a shoe illustrator, which David knew so they began talking about shoes. Otherwise it was not the greatest meeting [laughs]. He also met Lou Reed that week and Iggy Pop that week. So it was a big, big, big week.

And it was the beginning of the whole next phase of his life and career and as it turns out all of our lives and careers. So I ended up working for him and his manager for the next few years.

The record company, when they signed him, arranged for a dinner at a restaurant called The Ginger Man. So that was the first time Lou and David actually met, at that dinner. And they, I think, got along pretty well.