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David Bowie (1967) (Music)
- 138 statements
- 26 feature instances
- 5 referencing feature instances
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DavidBowie1967 | |
| David Bowie (1967) (Music) | comment |
Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_1'); })David Bowie is the debut studio albumnote Not to be confused with his second, also initially Self-Titled Album from 1969, which is now better-known as Space Oddity by David Bowie, recorded from November 1966 through February 1967 and first released in the UK on Deram Records label on June 1, 1967.A far cry from the British Invasion rock of his previous non-album singles, the record presents an eclectic mix of British music hall, Anthony Newley-style pop, Radio Drama, pop-culture satire, children's music, and neo-Edwardian kitsch. The album also introduces lyrical themes that Bowie would further explore in his later work, including gender non-conformity, apocalypse, the Messianic Archetype, and the treatment of youth and elders as if they were separate races.Bowie's stint on Deram would not last very long, and Bowie himself wouldn't release another album for over two years after this one, subsequently refraining from performing any songs off of this record live.note He did perform several of its songs for BBC radio later in the decade, and lip-synched a few tracks for his 1969 promotional film Love You till Tuesday. However, the album and other Bowie recordings for Deram saw many rereleases and repackagings in the years following his Breakthrough Hit album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars.Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_2'); })David Bowie was supported by two singles: "Rubber Band" and "Love You till Tuesday", the latter of which later became the namesake for a promotional film Bowie made to court a new record label after Deram dropped him. This film would wind up catching the attention of Philips Records and their subsidiary Mercury, which would lead to the creation of Bowie's next two albums. | |
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| David Bowie (1967) (Music) / int_16e94b0a | type |
Sex, Drugs and Rock & Roll | |
| David Bowie (1967) (Music) / int_16e94b0a | comment |
Sex, Drugs and Rock & Roll: "Join the Gang" is a harsh satire of "Swinging London"/psychedelic musicians and models, portraying them as pathetic posers strung out on booze and acid. | |
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| David Bowie (1967) (Music) / int_21d70919 | type |
Crapsack World | |
| David Bowie (1967) (Music) / int_21d70919 | comment |
Crapsack World: In "We Are Hungry Men," massive overpopulation leads to widespread starvation, fascism and cannibalism. | |
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| David Bowie (1967) (Music) / int_2937826d | type |
Hurricane of Puns | |
| David Bowie (1967) (Music) / int_2937826d | comment |
Hurricane of Puns: "The Laughing Gnome" is full of puns on the word "gnome." | |
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| David Bowie (1967) (Music) / int_2e70a1db | type |
Miniscule Rocking | |
| David Bowie (1967) (Music) / int_2e70a1db | comment |
Miniscule Rocking: "Maid of Bond Street" is well under two minutes. | |
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| David Bowie (1967) (Music) / int_2f1ddb04 | type |
Perfect Health | |
| David Bowie (1967) (Music) / int_2f1ddb04 | comment |
Perfect Health: Averted in "Please Mr. Gravedigger." Bowie sounds congested throughout the song, which is set in a graveyard during a rainstorm. He even sneezes twice, punctuating the first one with "Excuse me." | |
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The Slacker | |
| David Bowie (1967) (Music) / int_39eba631 | comment |
The Slacker: The protagonist of "Silly Boy Blue" is a Tibetan monk who fails to achieve enlightenment because he won't put in the effort. | |
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| David Bowie (1967) (Music) / int_3e24af42 | type |
Musical Gag | |
| David Bowie (1967) (Music) / int_3e24af42 | comment |
Musical Gag: The pop-cultural satire "Join the Gang" features an atypically fast-tempo sitar bit in the first verse ("Johnny plays the sitar / He's an existentialist"). This is abruptly replaced with a honky-tonk piano line at odds with the psychedelic "scene" being described. As the lyric mentions this month's hot club, the organ riff from the Spencer Davis Group's "Gimme Some Lovin'" plays. Eventually the song dissolves in a cacophony of bizarre sound effects. | |
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Love Hurts | |
| David Bowie (1967) (Music) / int_424d15ad | comment |
Love Hurts The narrator of "Sell Me a Coat" complains of feeling cold with the coming of winter, but it's a metaphor for his broken heart after his "summer girl" leaves him. The protagonist of "Rubber Band" pines after his love, who left him for the conductor of a brass band. | |
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| David Bowie (1967) (Music) / int_479d4e5a | type |
Would Hurt a Child | |
| David Bowie (1967) (Music) / int_479d4e5a | comment |
Would Hurt a Child: The narrator of "Please Mr. Gravedigger" watches the title character dig ten-year-old Mary's grave and swipe her golden locket. However, the narrator doesn't judge him because he himself was the one who killed her. He does, however, announce at song's end that he's digging a grave for the gravedigger "just to make sure that you keep it to yourself." | |
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| David Bowie (1967) (Music) / int_4e7c4536 | type |
Wham Line | |
| David Bowie (1967) (Music) / int_4e7c4536 | comment |
Wham Line: The ending of "We Are Hungry Men": "We're here to eat you." | |
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| David Bowie (1967) (Music) / int_5e2e55e4 | type |
The Casanova | |
| David Bowie (1967) (Music) / int_5e2e55e4 | comment |
The Casanova: The narrator of "Love You till Tuesday," as the title makes clear. The spoken-word Punchline: "Well, I might be able to stretch it till Wednesday." | |
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Kent Brockman News | |
| David Bowie (1967) (Music) / int_7fff034b | comment |
Kent Brockman News: "We Are Hungry Men" opens with a news anchor reporting the latest population statistics of major cities worldwide, becoming increasingly histrionic and exclaiming "My God!" as it becomes clear there's a global overpopulation crisis. | |
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| David Bowie (1967) (Music) / int_8b68d9a7 | type |
Stalker with a Crush | |
| David Bowie (1967) (Music) / int_8b68d9a7 | comment |
Stalker with a Crush: The narrator of "Love You till Tuesday" stations himself outside a woman's window "through the night" and later hides in an apple tree, waiting for her. Played with in that he announces up front his affection for her will be short-lived. | |
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| David Bowie (1967) (Music) / int_97ee273 | type |
Momma's Boy | |
| David Bowie (1967) (Music) / int_97ee273 | comment |
Momma's Boy: The thirty-something protagonist of "Uncle Arthur" works in the family shop, lives with his mother and "still reads comics." When Arthur falls in love with Sally and brings her home, his mother begs him to stay, but he gets married and moves out. Before long, however, he leaves Sally when it turns out she can't cook, and moves back in with mommy. | |
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| David Bowie (1967) (Music) / int_99b51746 | type |
Time Title | |
| David Bowie (1967) (Music) / int_99b51746 | comment |
Time Title: "Love You till Tuesday", named after the narrator's fleeting sense of love that can only last two days at a time ("My burning desire started on Sunday/Give me your heart and I'll love you till Tuesday"). | |
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| David Bowie (1967) (Music) / int_9bd92eef | type |
Astral Projection | |
| David Bowie (1967) (Music) / int_9bd92eef | comment |
Astral Projection: "Did You Ever Have a Dream" is a tongue-in-cheek song about the wonders of astral travel while asleep. | |
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Canon Discontinuity | |
| David Bowie (1967) (Music) / int_a32334b4 | comment |
Canon Discontinuity: Though he never outright tried to delete the album from his catalogue, Bowie ignored its existence for the most part (barring the inclusion of "Silly Boy Blue" on Toy and Nothing Has Changed), to the point where he and his estate never tried to reclaim the rights for it. Thus, official reissue campaigns and retrospectives typically place the Bowie backlog's starting point at Space Oddity. | |
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Sweet Polly Oliver | |
| David Bowie (1967) (Music) / int_a8217606 | comment |
Sweet Polly Oliver: Mary, the protagonist of "She's Got Medals," dresses as a man, changes her name to Tommy, and enlists in the army, somehow managing ("Don't ask me how it's done") to pass her physical undetected. Eventually the tedium of life on the front, and the apparent necessity of "picking up girls" on leave in order to pass as male, gets to her, and she deserts. Conveniently assumed dead in a bombing later that day, "Tommy" presents once more as a woman, now calling herself Eileen, and settles down in London. | |
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Leave No Witnesses | |
| David Bowie (1967) (Music) / int_a8896b94 | comment |
Leave No Witnesses: After admitting to murdering a child in "Please Mr. Gravedigger", the singer then makes clear he's about to murder the gravedigger as well, "just to make sure that you keep it to yourself". | |
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Mistaken for Pedophile | |
| David Bowie (1967) (Music) / int_b4fb00f6 | comment |
Mistaken for Pedophile: A possible interpretation of "Little Bombardier." The lonely, unemployable veteran Frankie Mear finds new purpose in life when he befriends young children and buys them candy and gifts. However, the police pay him a visit, demand to know if his little friends are "just a game" to him, and warn him to "[l]eave them alone or we'll get sore." Broken-hearted, he leaves town forever. Critic Chris O’Leary notes, however, that the song is vague as to whether Frankie is in fact innocent of pedophilia. | |
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Corpsing | |
| David Bowie (1967) (Music) / int_c06ec61e | comment |
Corpsing: Bowie breaks up near the end of "The Laughing Gnome". | |
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A cappella | |
| David Bowie (1967) (Music) / int_c6b75b76 | comment |
A Cappella: Bowie sings "Please Mr. Gravedigger," the album closer, with only thunder, rain, shovelling and other sound effects for accompaniment. | |
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| David Bowie (1967) (Music) / int_c98b7916 | type |
Messianic Archetype | |
| David Bowie (1967) (Music) / int_c98b7916 | comment |
Messianic Archetype: The narrator in the verses of "We Are Hungry Men" attempts to curb global overpopulation with promises of free contraception, legalized abortion and even "turn[ing] a blind eye to infanticide." He even refers to himself as "your messiah." However, the people in the choruses reject and ultimately eat him. | |
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Self-Titled Album | |
| David Bowie (1967) (Music) / int_ca834552 | comment |
Self-Titled Album: The first of two, although the second (1969) album would subsequently receive the new titles Space Oddity in the UK and Man of Words, Man of Music in the US. | |
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| David Bowie (1967) (Music) / int_eff83d77 | type |
Mundane Utility | |
| David Bowie (1967) (Music) / int_eff83d77 | comment |
Mundane Utility: "Did You Ever Have a Dream" treats astral travel not as a tool for spiritual growth (as various spiritual movements claim), but as a cool way to travel around the world, instantly speak foreign languages, and date people anywhere from the convenience of your own bed. | |
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David Bowie (1967) (Music) |
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