In some ways it's not surprising. His next album after the massive hits of Let's Dance was Tonight. Tonight, I have to tell you, is absolute shit. It starts with 'Loving the Alien', which is a good (if a little awkward) track, although in this version it rambles on for 7 minutes (the single comes in at just under 5). And then you get what makes up the rest of Tonight except for the other two 'originals', 'Blue Jean' (a decent minor hit) and 'Dancing With the Big Boys' (a clattering, funky mash-up with DB and Iggy Pop barking phrases at each other, which got a good remix by Arthur Baker, but really could have done with the Trevor Horn/ Art of Noise treatment): what you get is cover versions. Extremely bad cover versions.
There are three Iggy covers on the album, along with two collaborations. The first is 'Don't Look Down', which is insipid, rubbish white reggae. The second is 'Tonight', a duet with Tina Turner, more cod-reggae which takes a large crap on Bowie's work on the album the track originally came from, Lust for Life. The third is 'Neighborhood Threat', which comes across as a bad knockoff of an end-title song from a mid-80s action/war cash-in, Iron Eagle II or similar. Kenny Loggins, but not as good. Between the first two Iggy covers is a version of the Beach Boys' 'God Only Knows' which, in my opinion, is the most rotten track put out by DB as a major artist.
On Pushing Ahead of the Dame, Chris O'Leary calls Bowie's performance on that track 'astonishing in its tastelessness'. (I recommend you read all the reviews of this album to give yourself a good laugh.) Now, while I agree, I'm not too hung up on matters of 'taste': my favourite Beatle is Paul McCartney. Tastelessness in rock is fine, in fact it's part of the deal. But what O'Leary is getting at is the sheer gaudiness, the vulgarity, the offensive gingerbread-work ornamentation of both the track and Bowie's vocal stylings. Compared to the austerity of the Eno albums, it's hard to believe it's the same artist. But in a sense, what you have in Tonight is Bowie's full-Vegas period, his short go-round on the carousel of commercial, mainstream pop. And he falls off. On Tonight Bowie is an 'entertainer' (see the 'Blue Jean' video, his make up shades of Archie Rice), who doesn't entertain. There's nothing there. And I think he knows it. Tonight is a cash-in, no more, no less.
That's why, I think we have all the Iggy covers. Sure, Bowie's doing his mate a favour, and 'China Girl' was a big hit, so why not mine the back catalogue? But there's something else. If Bowie has gone Vegas, he's haunted by Iggy himself, the fukt-Elvis, the rock'n'roller as abject, the self-lacerating self-destructing antithesis of the commercial imperative.
The Iggy covers and collaborations are a sign of Bowie's profound discomfort, I think. Iggy's presence is alchemical, a magical means by which to offset the glittering turds which pile up as you listen to the album. Apparently Bowie had demoed quite a few tracks for Tonight, unusually, nearly all of which didn't make it (some, it is suggested, went on to Iggy's Blah Blah Blah in 1986). But he went for all these terrible, terrible cover versions instead, almost a kind of mea culpa as he's doing it. 'Yes, I'm selling out, this is a cash-in, sorry, but look, here's Iggy...'
Bowie didn't learn his lesson, either. Never Let Me Down's execrable second side ends with a cover of Iggy's 'Bang Bang', and while it's not a horror on the level of 'Tonight', it's still plenty bad.
But the 1984-1987 period isn't all awful, and you can make a decent album out of assorted songs. Last night I fiddled with sequencing some of the decent tracks on the first side of Never Let Me Down, the listenable Tonight songs and other odds and ends from the period (mainly soundtracks), and it's not bad:
Side 1: Loving the Alien / Time Will Crawl / This Is Not America/ Never Let Me Down / Zeroes
Side 2: Day-In, Day-Out / Dancing With the Big Boys / Blue Jean / When the Wind Blows / Absolute Beginners
Ok, it's never going to break the top 10 of a Bowie album poll, but it's not much of a dip from Let's Dance. It's nearly all singles, too. Rather than make Tonight, I suspect he'd have been better off doing a greatest hits package with some new songs thrown in, maybe some live versions - a bit like Nothing Has Changed. And then we might not have had Tin Machine.
But also we wouldn't have had the comebacks, Lazarus-like, returning from commercial death in 1993/4 and then from his ten-year hiatus in 2013. And I think the comebacks are key to Bowie's career. On top of the world in 1983, he was vilified by 1989, laughed at - if you remember, 'Laughing Gnome' topped the phone-in poll of requests on the Sound+Vision tour in 1990. (He didn't play it. But the ChangesBowie retrospective went to no.1 in the UK that same year, the first Bowie cd I bought.) The second Tin Machine album in 1991 gleaned reviews so bad that one, by Jon Wilde, which called DB a 'fucking disgrace', apparently made him cry.
So an artist as talented, as extraordinary, as Bowie, one whose death was a major cultural event, was capable of making very bad work. Work that was so shockingly miscalculated that it was despised or ignored or simply forgotten. And I like that. Not just that he came back, but that he failed, and failed so spectacularly, in the first place. For me, that's comforting, in a way, and a source of hope. Bowie gives us license to screw up, badly, to let us down, and then to come back.