In my last post I mentioned (or I insinuated it) that I´m a big fan of singles. Unfortunately where I live it is pretty difficult to find them so every time I have the opportunity to get one, I don´t doubt.
On Wednesday I went to pick the picture disc of Survive. I already had the single on cd that I´d brought two years ago. I don´t have a lot of material of the 90´s and I know there are difficult to find. I mostly own singles on cd and record and bootlegs, none of the studio albums.
I have to admit that Survive is my favourite Hours song (I don´t know if you realized that). The single was released in 2000 and the cd has two versions: the blue one contain Marius de Vries mix, the studio song and The Pretty Things Are Going to Hell (Stigmata Film Version) and the pink one the live version of Survive, Seven and Thurday Child(Paris 14th October 1999) . Both contain too a multimedia content. The record contains the mix of Survive and the live version of Seven.
This song expresses so kind of feeling of overcoming and remembrance. The person is trying to let his past go but not with anger or sadness. It is necessary to move on and reconcile with their existence. It´s like the summary of all the themes of the album, primarily an exposition of the idea of reborn and don´t be stuck in the same path forever.
I said several times before what this song means to me. Sometimes is so difficult to me not mix my emotions when I´m talking about a song that produced such an impact in my mind and heart. Mostly of the times I ended writing a subjective text rather than an objective one. But did you have that feeling that a song is talking about you even when the events don´t coincide with your life? There something in the rhyme and vocals that feels so familiar. “I was wrapping up the seventies really for myself, and that seemed a good enough epitaph for it- that we´ve lost him, he´s out there somewhere, we´ll leave him be” David Bowie.
If you followed my old account, you know last year I made an analysis about Scary Monsters and the figure of the Pierrot (now that text is floating in the uncertainty of the web). The creator is trying to take away the mask and to not be governed for his fictional invention. But this make-up that he tries to remove not only has to be with an aesthetical side but with a series of bad and self-destructive options. Mostly people claim that Berlin is the era where David shows a persona that was healthier than ever but why he decided to do a confession about his mental state, which in the song doesn´t seem to be very stable still, a couple of years later. In relation with the chaotic and open eyed atmosphere of the album, the song fits perfectly as a proof of how an addiction and bad decisions can make you miserable. The world is in decay and the own individual existence is breaking up. The individual can´t consider himself an example of a good behavior (check out songs as Teenager Wildlife). Beside all the things exposed previously (actually spit previously), there is so kind of redemption. This person is trying to clean his soul and left the insanity behind. Just bury the old sad days. Like the phoenix, resurge in something new from de ashes, reborn with all the scars behind you. Bowie claimed in an interview that Scary Monsters was a purge, there is something you need to let it out before it kills you.
Happy 38th anniversary Ashes to Ashes.
Happy 38th anniversary Ashes to Ashes!
Ashes to Ashes was the first Bowie single on record I brought, actually was the first single on record I brought. It was the beginning of a new obsession.
This song was always one of my favourite in the extensive repertory of Bowie´s work and that´s what motivated me to get it in a first place.
The expression of sentiment concentrated in it really shivers your skin, send you the most obscure place in people mind. Mostly of the song of Scary Monster have that particularity that maintain you with the senses awake all the time. That rampant flow of images is what I like the most.
Musically speaking, the melody was influenced by Danny Kane number called “Inchworm” from the 1952 musical Hans Christian Andersen. Several Bowie songs were made based on nursery rhymes or children songs which establish a peculiar contrast between the music and the theme in it.
Major Tom is revived in it as someone who is not stuck and forgotten in the space. His existence became more mundane and sinner as not only gave success also destruction. Some writer point out that in the course of the song you can find links to the previous Bowie´s albums and songs.
The character of the Pierrot appears in the cover of it as it also does in the Scary Monsters one. I know there several covers with the Pierrot in different positions so I will do my best to find every single of it.
What do you think about this song?