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Versione del 1 mag 2009 alle 18:58 di Michele859 (discussione | contributi) (→xoomer)

The 1980 Floor Show è il titolo di un concerto che si tenne al Marquee Club di Londra dal 18 al 20 ottobre 1973. Lo show, che aveva come protagonista principale l'artista inglese David Bowie, venne trasmesso negli Stati Uniti il 16 novembre successivo, all'interno della serie musicale "The Midnight Special" della NBC, per la durata di un'ora circa.(5years) Diretto e prodotto da Stan Harris e registrato davanti ad un pubblico di 200 fans sfegatati, il 1980 Floor Show rappresentava la prima apparizione dal vivo di David Bowie dall'ultima data dell'Aladdin Sane Tour (e dall'annunciato addio alle scene) ed è considerato una specie di breve resurrezione di Ziggy Stardust dopo il concerto del 3 luglio 1973 all'Hammersmith Odeon. Lo spettacolo, il cui titolo è un gioco di parole riferito alla canzone 1984 (Nineteen Eighty Four/ Nineteen Eighty Floor) riuscì a catturare un affascinante momento di transizione tra gli album Pin Ups e Diamond Dogs.

Il Marquee Club, ___location del 1980 Floor Show dal 18 al 20 ottobre 1973

Scaletta

I brani, tranne dove indicato, sono scritti ed eseguiti da David Bowie.

Cast

Crediti

  • Stan Harris - Produttore
  • Rocco Urbisci - creative consultant
  • Jaques Andre - associate producer
  • Matt Mattox - choreography
  • Freddi Burretti - costumes
  • Barbara Daley - make-up
  • Natasha Korniloff - Amanda Lear's costume in "Sorrow"
  • Billy The Kid - Hair
  • George Underwood - Graphics
  • Ken Scott & Ground Control (Robin Mayhew) - Sound Mix

Lo show

In un certo senso gli elementi visivi del concerto richiamavano una specie di breve resurrezione di Ziggy Stardust, che David si proponeva di portare sui palcoscenici del West End, più o meno nello stesso periodo, in forma di vero e proprio musical rock. Splendido nella sua pettinatura alla Ziggy e coadiuvato da un gruppo di danzatori vestiti con tute decorate da ragnatele, Bowie mise in scena una nuova sfilata di costumi creati da Freddi Burretti e dalla sua collega di un tempo, Natasha Kornilof. Tra questi, un basco rosso orlato di piume di struzzo, una tuta senza maniche decorata con lingue di fuoco e una tuta a rete con un paio di mani d'oro cucite sul petto. Una terza mano, che gli copriva l'inguine, era stata tolta su insistenza della NBC ma la registrazione subì un ritardo quando ci si accorse che quello che restava di quella tuta rivelava più del dovuto. In Strange Fascination, Ken Scott afferma che Bowie, offeso dalle modifiche subite dal suo costume «fece del suo meglio per rovinare le riprese. Credo che alla fine abbiano fatto un collage tra le due, ma riuscì molto male e nella versione finale si vede benissimo». In seguito Bowie osservò che il concerto era stato «ripreso in modo pessimo».(xoomer)

Tuttavia, sotto molti aspetti il 1980 Floor Show rifletteva, più che glorie passate, nuovi interessi. La scaletta era stata ricavata soprattutto da Pin Ups e Aladdin Sane, ma il brano più importante era sicuramente il medley 1984/Dodo, annunciata come l'anteprima di un prossimo adattamento di 1984 ideato da Bowie. L'elaborata coreografia di Matt Mattox, con una sequenza d'apertura in cui i corpi vorticanti dei ballerini si fondevano in una serie di quadri che formavano il titolo del concerto, indicavano che le aspirazioni teatral-musicali di Bowie stavano crescendo: Mick Ronson e il resto del gruppo vennero visivamente messi in secondo piano rispetto alla presentazione teatrale del performer Bowie.

I musicisti erano più o meno quelli che avevano lavorato su Pin Ups, con l'aggiunta del chitarrista degli Arnold Corns, Mark Carr Pritchard. Le voci erano opera degli Astronettes, un trio creato da David in onore della sua nuova ragazza, Ava Cherry. I due si erano conosciuti a New York all'inizio dell'anno e durante le sessioni di Pin Ups erano stati insieme a Parigi, dove Ava ballava in uno spettacolo di danza. Nel periodo del 1980 Floor Show lavorò con David al progetto, poi abbandonato, di un album degli Astronettes e, per un po', coabitò con i Bowie nella loro nuova casa di Oakley Street. Nei due anni successivi sarebbe diventata una figura familiare nell'entourage di Bowie.

Un'aggiunta a sorpresa al concerto fu la presenza di Marianne Faithfull, stellina degli anni sessanta ed ex fidanzata sia di Brian Jones che di Mick Jagger, che apparve in abito da suora con la schiena nuda, completo di sottogola, e duettò con Bowie in una versione, incredibilmente stonata, di I Got You Babe di Sonny & Cher. Lei eseguì anche un paio di brani come solista, tra cui il suo successo del 1964, As Tears Go Bye. La trasmissione durava 65 minuti. Il supporto fu fornito dai Troggs e dai Carmen, un gruppo glam ispanico di Los Angeles il cui primo album, Fandangos in Space era stato prodotto da Tony Visconti. Lui e la sua ragazza Mary Hopkins assistettero alle riprese, insieme ad Angela e Zowie, Lionel Bart, Dana Gillespie e il travestito ex attore di Pork, Wayne Country. Poi arrivò anche Amanda Lear, apparsa sulla copertina dell'album del 1973 For Your Pleasure dei Roxy Music, che avrebbe dovuto presentare la serata. Amanda salì sul palco facendosi chiamare "Dooshenka" e presiedette lo spettacolo come una specie di Marlene Dietrich dell'era spaziale. Come Marianne Faithfull e Ava Cherry, anche lei intrecciò un rapporto intimo con David più o meno nello stesso periodo.

Le registrazioni iniziarono il 18 ottobre con le esibizioni soliste dei Carmen e della Faithfull. Il nucleo della parte riservata a Bowie fu ripreso il giorno seguente, in cui si esibirono anche i Troggs. Ciascun brano fu eseguito diverse volte per permettere di spostare le tre telecamere. Il terzo e ultimo giorno il set fu chiuso alla stampa e al pubblico e fu dedicato alla coreografia del titolo dello show, a diverse riprese e primi piani e alla difficile messa in scena del singolo Sorrow: mentre i danzatori adottavano posizioni immobili e l'assolo di sassofono veniva mimato a un ballerino con un cappello a cilindro argentato, David appariva in un completo a due pezzi e cantava la sua canzone rivolgendosi a Amanda Lear.

La NBC censurò ben più che i costumi di Bowie. Lui accettò di sostituire la parola "swanking" (pavoneggiarsi) nella canzone Time e durante la messa in onda furono cancellate le parole "goddamn" (maledizione) e "screw" (fottere) da Dodo.

Il 1980 Floor Show vide l'ultima apparizione dal vivo di David con Mick Ronson e Trevor Bolder, i due Spiders sopravvissuti alla transizione fino alla registrazione di Pin Ups. L'ultima serie di riprese al Marquee, Bowie e Ronson si sedettero insieme in camerino. «Ci scambiammo un cenno, lui aveva l'aria strafatta e imbronciata», raccontò in seguito Ronson. «Poi ricominciò a truccarsi. E quella fu la fine dell'amicizia tra me e David». In realtà non andò così: Bowie collaborò con Ronson per il suo primo album solista, Slaughter on 10th Avenue, e molti anni dopo i due si sarebbero ritrovati in studio e sul palcoscenico.

C'erano nell'aria grossi cambiamenti. Ava Cheryy, che David esaltava come «la nuova Josephine Baker» si stava interessando alla musica nera americana contemporanea. Anche gli interessi di Amanda Lear per l'arte e il cinema continentale esercitarono il loro influsso su David, che stava già virando verso la decadente estetica europea già esaltata nel film Cabaret, grandissimo successo dell'anno precedente. Anche se le produzioni teatrali di Ziggy Stardust e 1984 non si concretizzarono mai, l'album e il concerto dal vivo che ne furono tratti univano la visione di Orwell a una potente combinazione di queste nuove influenze.

Il 1980 Floor Show debuttò in America il 16 novembre 1973. Anche se la NBC ha poi trasmesso sia la versione integrale che quella tagliata, in Gran Bretagna non è stato ancora messo in onda.

L'idea venne a Bowie quando venne contattato da Burt Sugarman per creare qualcosa per The Midnight Special, programma settimanale che dall'inizio dell'anno proponeva speciali sul rock. L'idea di Bowie era quella di uno spettacolo molto teatrale in cui lui stesso e altri gruppi rock degli anni sessanta si esibivano in un contesto futuristico, forse riprendendo le sue idee sullo spettacolo di cabaret che aveva programmato anni prima. Michael Lipman, avvocato di Los Angeles specializzato nell'industria musicale, si occupò del contratto che dava a Bowie la completa autonomia artistica. Quando il progetto divenne di pubblico dominio, i giornali britannici scrissero che gli americani si erano assicurati il "colpo pop dell'anno" e lamentarono il fatto che l'evento non sarebbe stato trasmesso nel Regno Unito. In effetti l'unico spezzone venne trasmesso a Top of the Pops mentre l'intero show non ha mai avuto altre distribuzioni televisive e non è mai stato reso disponibile per l'home video. Il primo giorno fu dedicato alle riprese in studio, mentre quelle al Marquee vennero effettuate il 19 e 20 ottobre. Bowie scelse personalmente le scenografie, dopo aver preso in considerazione la possibilità di un concerto a più larga scala (idea rifiutata dalla NBC perchè troppo costosa). Come ha dichiarato Bowie, «C'erano molti club disponibili a Soho negli anni sessanta ma il Marquee era in cima alla lista, perchè i musicisti bazzicavano quella zona, facendo finta di parlare d'affari e di recuperare ingaggi, ma più che altro recuperavano le ragazze». Ancora, «La mia ultima performance come Ziggy Stardust è stata al Marquee. Volevo tornarci perché c'erano molti bei ricordi che mi legavano al club. Ho vestito Marianne Faithfull da suora, con il vestito aperto dietro, ed io ero vestito come l'Angelo della Morte!» L'ingresso allo show era solo su invito e il pubblico comprendeva 200 membri del neoformato International David Bowie Fan Club, personalità del mondo del rock e una rappresentanza selezionata della stampa musicale. Tra i presenti c'erano la moglie di Bowie, Angela e suo figlio Zowie, Tony Visconti, Mary Hopkins, Lionel Bart, Dana Gillespie, Long John Baldry e Wayne County. Allo show parteciparono anche Marianne Faithfull, The Troggs ed un gruppo vocale spagnolo chiamato Carmen. Per l'ultima volta, Mick Ronson e Trevor Bolder suonano con Bowie come Spiders from Mars. La performance di Bowie di sabato 19 ottobre andò avanti per 10 ore, visto che ogni canzone venne eseguita e filmata ripetutamente. Date le dimensioni ridotte del Marquee, era possibile usare solo due telecamere per cui ogni canzone venne girata, almeno cinque o sei volte, per permettere il posizionamento delle telecamere. Il risultato, secondo il giudizio dello stesso Bowie, fu "girato pessimamente". I fan, naturalmente, erano entusiasti della possibilità di vedere il loro idolo esibirsi per così tanto tempo. Oltre al materiale di Ziggy Stardust, lo show fu l'occasione per ascoltare in anteprima alcune tracce di Pinups e Diamond Ddogs. Time è stata inserita in RarestOneBowie del 1995.

La prima canzone ad essere filmata fu Everything's Alright, dall'album Pinups. Bowie indossava dei vivaci pantaloni gialli, un top di satin viola, giacca di pelle nera e stivali coi tacchi alti. Tutti i costumi dello show erano creati da Bowie e Freddie Burretti. Il costume di Mick Ronson era una tuta jumpsuit bianca. Mark Carr Prichard venne presentato da Bowie come "Mark Due Fiumi, un Mohicano di Peage". Curiosamente, il batterista Aynsley Dunbar aveva suonato con The Mojos, che scrissero Everything's Alright negli anni sessanta. Bowie e Ronson suonano per l'ultima volta dal vivo insieme da qui fino alla reunion in Canada nel 1983, durante il Serious Moonlight Tour. Le Astronettes (da non confondersi con i ballerini del Rainbow Concert con lo stesso nome), coristi e ballerini di Bowie, erano Geoffrey MacCormack, Jason Guess e Ava Cherry.

Per The Jean Genie, il costume di Bowie era fatto con una rete da pesca e venne aggiustato due volte dal personale. Prima vennero rimosse due mani finte con unghie nere che erano state applicate a coprire i capezzoli, così come un sospensorio. The NBC were concerned that the suggestively placed dummy hand would be too shocking for American audiences. The film crew were subsequently instructed to film above Bowie's waist for that number. Other censorship for US TV occurred later when words such as "screw" and "goddam" were edited from the soundtrack.

"I did one particular song, can't remember what it was now but I had a strange kind of string knitted costume made with three hands on. Two of them on my chest, looking like I was being gripped from the back...And a third one on my crotch. I nearly started a riot with the Americans. They said: "Oh we can't show that, that's subversive." We went through hell, so I had to take the hand of my crotch. And then of course they didn't like the black pouch piece that was down there, that the hand was stitched to...so I had to change all that. So, like the 'Diamond Dogs' thing that they airbrushed the dick off, I was having more erasure problems. It followed me all through the Seventies.* It's funny that I can remember the costume and not the song, totally indicative of what the time was like." - Bowie (2002)

During "Rock N Roll Suicide" the word "suicide" was bleeped each time it appeared in the song. This was because earlier that year a boy had died in the US trying to imitate part of Alice Coopers stage act where he was hung onstage. Subsequently it was dropped from the final edit by NBC.

For "1984" - Bowie wore a Ziggy cloak which was stripped away by Ava Cherry and Jason Guess to reveal the "keyhole costume."

"Sorrow" was filmed in the studio with Bowie dressed in a white suit singing to Amanda Lear, who with a pole manipulated string-costumed figures on a giant chessboard.

For "I Can't Explain" - Bowie wore a bright red PVC corset, PVC thigh-length stiletto boots and two black chest-hugging feathers and smaller feathers on his wrists (he was The Angel of Death).

For "Time" (The backing track for this song was from Aladdin Sane (1973)) Bowie wore a blue and yellow flaming design half-leotard with cloak as above. The live version of the song at this show is included on RARESTONEBOWIE (1995) and is notable for the (forced?) lyric change (...falls swanking to the floor...).

The last song - "I Got You Babe" was a duet sung with Marianne Faithful and was filmed at about 10pm at night. Bowie warned the audience - "This isn't anything very serious. Its just a bit of fun - we've hardly even rehearsed it." Bowie's costume for this song was the bright red PVC corset, PVC thigh-length stiletto boots and two black chest-hugging feathers (he was The Angel of Death), while Marianne Faithful was dressed as a decadent nun with cowl and a black backless cape, which left her bottom exposed to the audience as she quickly ran off stage at the end of the performance.

"She was wearing a nun's habit with no backside and black stockings. I've got that clip at home, and it is fantastic. But they wouldn't show it in America. It was felt to be beyond the pale. Madonna, eat your heart out!" - Bowie (1993)

nel bootleg 1980 FLOOR SHOW OUTTAKES ci sono le prove dello show.(velvet)

marqueeclub

Admission to the show was by invitation only and the audience included 200 members of the newly formed International David Bowie Fan Club, staff and managers of the Marquee, selected musical press, and famous people such as Tony Visconti, Angie and Zowie Bowie, Long John Baldry, Dana Gillespie, Wayne County, Lionel Bart and Mary Hopkins.

For this production a special and spectacular stage production was set, covering the usual decoration at the club and, apparently the stage and backstage were completely rebuilt and the walls and ceilings were repainted in black to the horror of the club manager Jack Barrie.

The performance on Saturday the 19th of October lasted for 10 hours. All the songs were needed to be re-shot several times from different positions since the Marquee club was such as small place the it didn't allow to do takes from different angles at the same time.

Melody Maker, 27 ottobre 1973 - Chris Welch

"David Bowie in action at The Marquee (where it all began) was just one of the many rare and knee-trembling sights to be enjoyed within the noise-battled walls of the old clubhouse last Saturday afternoon. David, Spiders and friends were in the throes of filming a spectacular that will never be seen in Britain. For three days an NBC film-crew had been at work, capturing the full glory of Bowie madness for America's TV show "The Midnight Special". They especially wanted the atmosphere of Soho's Marquee, which with the curious logic of movie makers, involved ripping out all the club's identifiable features and building a new stage and anonymous backdrop, much to the chagrin of club manager Jack Barrie. David was joined in the spectacular by such sixties stars as Marianne Faithful and The Troggs, hence the sudden appearance of a slightly bemused Reg, adrift in a sea of celebrated transvestites, glamorous gays and what is known in the trade as "kids off the street." If it all sounds faintly horrifying, in fact the overall atmosphere kept reminding me of the Youth Club Scene in Cliff Richards "The Young Ones" with David as The Mystery Singer. In a fascinating cross-section of modern society, grumbling British workmen with "everybody out brothers" trembling on their lips, rubbed thighs with tittering school children, harassed American technicians, furtive journalists and illicit photographers. The star, in high spirits, was remarkably patient. For technical reasons, such classics as "Space Oddity" and "The Jean Genie" had to be performed endlessly, often cut short after a few bars. This was a frustrating situation and David fled the stage only once after Mick Ronson snapped a string. There were "three shows" - one on Friday night when Marianne Faithful sang "As Tears Go By" and two on Saturday, with a different audience of 200 souls for each, drawn from the Marquee Club and Bowie fan club members by democratic ballot. Time was of the essence but seemed to be running out fast. My sojourn at Saturday's session lasted from midday right though to 9pm and during that time, Bowie and the Spiders got through four numbers, and slightly more costume changes. There was a queue of fans down Wardour Street but not the fighting hordes it was feared that would be aroused by advance publicity. Sweeping into our midst was no less a personage than Wayne County, the friendly neighbourhood drag queen who recently graced the front pages of MM. Face caked in white makeup, Wayne swished around in a red negligee purchased in Piccadilly and a wig that looked like a ball of candy floss. She was regarded with total awe and confusion by the British contingent, until David's PR Cherry Vanilla with a voice like from the Laugh-In, grabbed Miss County's fake bosom and shrieked in delight "Are they silicone, my dear?" "Wayne - they are so firm and - Wayne, those shoes are fabulous." Wayne curtsied and modestly replied "I've been doing my exercises." But those "kids off the street" were far more interested in Angie Bowie, chattering loudly and signing autographs. It was very much a family affair, even baby Zowie putting in an appearance. An incredibly beautiful child, he swore innocently at us arousing the spectre of infant revolution. Showbiz romantics of the year, Lionel Bart and Dana Gillespie made their dramatic entrance while Mary Hopkins strode hither and thither, and the cessation of hammering on stage announced that the music was about to commence. "Oo's on second guitar?" demanded a gaggle of music lovers upfront. "It's Mark Pritchard - he's David's neighbour", proclaimed an expert. Cripes this was going to be exciting. A huge cheer went up as the musicians appeared for a sound check. There was Aynsley Dunbar, late of John Mayall, and Frank Zappa; clad in black and methodically testing his tom-toms. There was Trevor Bolder on bass and (shriek) Mick Ronson, starman in his own right, clutching guitar, zip partly undone and ready to sign autographs. But still no sign of David, believed to be lurking in the dressing room. The first number attempted was a spirited version of the old Mojo's hit "Everything's Alright" from PinUps, obviously familiar to the drummer, himself an ex-Mojo. The producer appeared and in best military briefing style explained what was happening. Mick Ronson reappeared this time in a fetching white costume, and then at 3.15pm Bowie cantered into view, red hair aflame, a bejeweled earring glittering, and yellow pants, sawn off below the knee, pulsating. The assembly stamped into "Everything's Alright" only to be signaled to an abrupt halt. "Frustrating ennit?" grinned Bowie, his blunt London accent oddly at variance with such sophisticated garb. "Well these are the Astronettes" he said indicating a trio of dancers and congo players. "And you all know The Spiders. "So what have you been up to?" enquired Bowie impudently, rather like Alexander the Great having conquered the East, asking Mr and Mrs Alexander how they enjoyed their weekend. While elders chuckled, fans ignored this frivolity, and pleaded "David, David - oh why doesn't he look over here?" "Oh shut up and look at his trousers" advised one maiden her face set in grim concentration as she chewed her gum (then for good measure she yelled "Donny!" just to show that even teenyboppers have a sense of humour). As inner anxieties ebbed away, a bold new spirit filtered through the psyche. I decided to buy Wayne County a drink. David was intoning that doom-laden statement "Ground control to Major Tom" when Wayne appeared at the bar ready to hold court. David was now sporting a lurex suit of red and gold stripes, the press were lured away by the eye-searing vision of New York Culture. "Tell us about your career Wayne" demanded a keen young music reporter. "Well you know I used to sing in churches in Georgia (gasp) and later in drag shows. I'm here to record an album which will be coming out in March, but its very hard to find musicians who are drag queens. I'd like to live in London. I came here two years ago with Andy Warhol's Pork. That's when I met David. The only instrument I play is mouth harp. But I refuse to play it because it messes up my lipstick. I'm trying to find a special lipstick that's harp-proof." She could try to find one that's people proof, as practically everybody on the premises bore traces of a County kiss. "I'll be talking to David about my LP, and we'll get some musicians off the streets. I'll be writing all the songs. I like him. Look I've got to go now..." We all laughed a little hysterically. At this point I requested that a young Swedish photographer of startlingly good looks be allowed to snap a quick camera study of Miss County in her finery. The lady suddenly abandoned her threat to leave, her arm in red organza streaking out to grab the startled youth's hand. "Honey, you're beautiful. What are you doing after the show? - Do you want my room number?" Having prised the photographer free and smuggled him out the back door, we left Wayne chatting to the young keen reporter, whose laughter became more hysterical by the moment. Meanwhile Mr B. was undergoing yet another costume change. Feeling as confused as Jack Lemon in Days of Wine and Roses, I peered past the blazing lights and laughing heads, at Bowie, now apparently in a red, fur-trimmed frogman's suit and shiny black PVC boots. He announced "The Laughing Gnome" and instead went into "I Can't Explain." Voices babbled in my ear: "You should have seen David on Friday night. He had ten men dancing about in black wings. It was fantastic!" My head was reeling. "Fun and games all day" said the barman, his voice echoing. Suddenly, real horrors began to set in as the deadly "heaven and hell" drink took effect. Despite rubbed eyes, a new version of Bowie refused to go away. Now he was attired in a fish net of a type usually employed in catching small whales with disembodied gold hands attached to his torso. Apparently there had been a third hand. But American television would not stand for that. Nor would American television stand for the sight of David's black jockstrap. Glimpses of underwear are taboo and had to be removed. Pubic hair is considered less tasteless. Even some of the lyrics had to be changed - one base word transmuted to "swanking." "The Jean Genie" rocked again and the band developed tremendous power. And although the PA equipment was minimal, there was no doubting the authority of David's singing. "We've written a musical" he announced "And this is the title song called 1984. We'll be doing the show in March next year." There were constant interruptions to "1984" with yells of "15 seconds David" from the producer. "Hold it. Ok when you are ready." David: "But we are ready." After a number of false starts, they began to dig into the tune, and David ripped off his black and red striped garb to reveal a tight, green suit with a keyhole emblazoned on the chest. It represents the moment in George Orwell's story when Winston is entrapped by a giant television screen - I guess. Unfortunately Ronson's guitar which had been steadily dropping out of tune, was afflicted by a broken string, and David finally ran off the stage, his first sign of pertulence. It seemed a good moment to leave this exhausting but entertaining glimpse into Babylon, and advance to the nearest supermarket to collect the weekend groceries. Except by this time they were all shut. The rock and roll pantomime tinseled on, with another show to complete, 'ere midnight. It occurred to me that possibly the best way to effect entry to any such future burlesques would be to don the hind legs of the Pantomime horse. Or perhaps in view of current trends - the front legs."

Music Scene, 27 January 1974 - Mick Rock

"Saturday afternoon at the Marquee provided the setting for David Bowie’s return to the stage, three months after announcing his retirement from concert touring. Backed by Mick Ronson and the Spiders, and supported by Marianne Faithfull, the Troggs, and a new group called Carmen, whose sound has been suitably dubbed "flamenco rock". Bowie was on display. His voice was in excellent shape, unhampered by a recent prolonged bout of flu, his energy as obsessive as ever, the music tight and inventive, and his parade of attire more bizarre than even his own freaky standards has led everyone to expect. All this was for the benefit of the American N.B.C TV program "The Midnight Special". Bowie himself chose the venue, pursuing further his current obsession with the period of his own beginnings in the music business. "Pin-Ups," his latest album release, consists solely of re-workings of mid-sixties British rock n roll hits. Bowie has always had a special affection for the Marquee. He used to play there with his first band, David Jones and the Lower Third. "At that time no-one would book us. We were considered a freaky band, and got booed at every gig we did. The only place that would let us play regularly was the Marquee, and then only on Saturday afternoons for a free audience". It was some years, and several changes, both in musical style and appearance, since Bowie last played there, but again it was a Saturday afternoon, and again it was free. "I wonder what that proves" grinned Bowie. For his return the stage and backdrop were completely rebuilt, and the walls and ceiling painted black all over. It all looked much smarter than anyone could ever recall. Left to right clockwise: Amanda Lear, Reg Presley of The Troggs, Marianne Faithfull, Jason Guess, David Bowie & Ava Cherry On stage the Spiders, Aynsley Dunbar, Trevor Bolder, Mike Garson and Mick Ronson, who has recently finished recording his own album, and who will front the Spiders on a UK tour in the New Year, began to set up. After a couple of instrumental run-throughs, Ronson, all clad in white to contrast with the rest of the Spiders’ black, nodded to the camera crew, struck the first note and nodded again to the side of the stage. Out sprang three figures, two black, male and female, and one white, Geoff McCormack, who played congas for Bowie on his last US and UK tours. They performed a brief dance routine, then positioned themselves in front of their microphones, to be later introduced as the Astronettes, his vocal back-up group. Close behind them appeared Bowie himself. He waved at the audience and grinned broadly. "And what ‘ave you lot been up to?" he enquired. When the hysteria died down, it took three takes to satisfy Bowie with the sound quality. The audience were far less discriminating, and applauded them all rapturously. The space in the Marquee is too limited to permit the requisite number of cameras to film simultaneously, so each song had to be reshot from different angles several times. This entailed as many as five or six performances of the same song, including run-throughs. Assisted by the frenetic film crew scurrying about and the clambering on the stage during performance of the more adventurous members of the audience, the atmosphere generated by Bowie’s own unique craziness swiftly transformed the clubhouse into something closely resembling a circus ring – Dali style. Throughout Bowie was very patient, very up. He filled in the intervals between takes rapping with the audience, teasing, laughing. After each song he would disappear immediately, reappearing dramatically on cue for the next one in a new costume. Bowie was joined by Marianne Faithfull, in a nun’s cowl and black cape, for the last song, the old Sonny and Cher hit, "I Got You Babe". He frolicked about in the true spirit of the song while Marianne watched him deadpan throughout. During one long break between takes she turned and left the stage, and paraded a pretty bare bottom, as the split in her cape flew open."

David Bowie: "There were a lot of clubs to go to in the Soho scene in the 60's but the Marquee was top of the list, because musicians did hang out there, pretending to talk business and picking up gigs - but picking up girls mostly. One of my keenest memories of the Marquee in the '60's was having a permanent erection because there were so many fantastic looking girls in there, it was all tourists, especially in summer, all flocking to London to get an R&B star. My final performance of Ziggy Stardust was at The Marquee. I wanted to go back there because I had so many good memories over the years. We changed the place completely and for 3 days we filmed what became 'The 1980 Floor Show'. I had The Troggs on with me and then got Marianne Faithfull to duet with me on a version of Sonny & Cher's 'I Got You Babe'. I dressed Marianne in a nun's habit with the back cut out and I dressed as the Angel of Death!"

5years

Bowie fan club members, staff of The Marquee and selected musical press are the participating audience.

Il DVD

"David Bowie The 1980 Floor Show", DVD bootleg featuring the full TV show.(marquee) "Absolutely Rare" , CD Bootleg released in 1999. Material from the show plus extra material.(marquee)

Note


Bibliografia

  • Nicholas Pegg - David Bowie - L'Enciclopedia. Arcana, Roma, 2002.
  • David Buckley - Strange Fascination. Virgin Books, Londra, 1999.
  • Peter & Leni Gillman - David Robert Jones Alias David Bowie. Sperling & Kupfer, 1989.
  • George Tremlett - David Bowie: Living on the Brink. Carroll & Graf, 1997.

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