In a time where glitter ruled the music world, few artistic endeavours shone like Bowie’s brilliantly eclectic “Aladdin Sane”.
Released in 1973, this magnum opus not only extended the narrative of Ziggy Stardust to a more worldly landscape - Major Tom had to land eventually - but also ushered in an odyssey that travelled through the realms of sound, spectacle, and Bowie's unique eccentricity.
The lightning bolt across his face symbolised this transformation — a departure from the cosmic dream into a fractured reality, marking not just a change in character but an emblematic shift in Bowie's musical and conceptual universes.
It can’t be common for an album artwork brief to begin with a demand to make it as costly as possible (which it was, making it the most expensive cover-art to date). But these were Tony Defries’s (Bowie’s manager) exact instructions, in an effort to ensure RCA promoted the record extensively.
The Thin White Duke himself wanted a flash: something like Elvis used in his 1969 return to gigging. Preparing for the shoot at Duffy’s studio in London, make-up artist Pierre Laroche started drawing a small flash on Bowie’s cheek.
The photographers stopped him and sketched another across half of Bowie’s face, saying: “now fill that in”. The rest, as we know, is rock’n’roll history.
As for “Aladdin Sane”, the album, it’s widely considered a masterpiece, a kaleidoscope of musical exploration, as much as other Bowie records in the 70’s, but also showcasing the artist’s sonic evolution. From the haunting piano riff of "Time" to the soulful saxophone on the title track, each note is a revelation.
The infusion of jazz, cabaret, and rock elements creates a tapestry that is both eclectic and cohesive. Mike Garson's avant-garde piano work, coupled with Bowie's ever-evolving vocals, add layers of complexity to an already rich sonic landscape.
FADS COME AND GO, STARS
RISE ONE DAY AND FALL THE NEXT
- BUT TRUE ICONS LIVE FOREVER.
