Golden Oldie Spotlight: When Ziggy Stardust Danced to the Beat of “Fame”
A Cynical Dance with the Spotlight: David Bowie’s Sharp Critique of “Fame”
In the mid-1970s, as the glitter of glam rock began to subtly shift, David Bowie, ever the artistic chameleon, unveiled a sound that was both unexpected and undeniably infectious. From his Young Americans album, the track “Fame”, released as a single in the summer of 1975, wasn’t just a song; it was a barbed commentary wrapped in a funky, danceable beat. This collaboration with the legendary John Lennon soared to the top of the US Billboard Hot 100, becoming Bowie’s first number one hit in America. While it conquered the airwaves stateside, its reception in his native UK was more reserved, peaking at a modest number 17 in the singles chart.
The story behind “Fame” is as intriguing as the song itself. Picture this: January 1975, Electric Lady Studios in New York City. Bowie, in the midst of his “plastic soul” phase, found himself in a studio session with John Lennon. Guitarist Carlos Alomar had been toying with a riff, inspired by a live cover of The Flares’ “Foot Stompin’,” that the band had been performing. As Lennon and Bowie jammed along, Lennon started singing “Aim” over the groove. Bowie cleverly transformed this into “Fame,” and the rest, as they say, is history. Lennon’s contribution wasn’t limited to the hook; his distinctive falsetto “Fame!” interjections punctuate the track, adding a unique sonic texture. He also played rhythm guitar on Bowie’s cover of The Beatles’ “Across the Universe”, which also found its place on the Young Americans album.
But “Fame” wasn’t just a product of a serendipitous jam session. It was deeply rooted in Bowie’s personal experiences and frustrations with the very thing the song’s title proclaims. By 1975, Bowie had tasted the intoxicating yet often corrosive nature of stardom. He was grappling with the end of his relationship with his manager, Tony Defries, and the ensuing legal battles. Adding to this turmoil was a financially disastrous musical theatre project titled Fame, ironically financed through a company built around Bowie’s own fame, which flopped spectacularly on Broadway after a brief and unsuccessful off-Broadway run.
In later reflections, Bowie described “Fame” as “nasty, angry,” admitting it was written with a “degree of malice” aimed at his tumultuous management situation. The lyrics, such as “What you need, you have to borrow,” poignantly capture Bowie’s feeling of being financially constrained despite his burgeoning success. He and Lennon, both intimately familiar with the double-edged sword of celebrity, spent hours discussing the loss of personal life and the often hollow reality behind the glittering facade of fame. They explored the paradoxical desire for recognition followed by the yearning for anonymity.
Musically, “Fame” was a departure for Bowie, firmly planting him in the realm of funk rock and blue-eyed soul, a direction fully explored on the Young Americans album. The driving bassline, the sharp guitar riffs, and the prominent saxophone create a sound that is both edgy and irresistibly danceable. It’s a testament to Bowie’s genius that he could channel his personal angst into a track that became a staple on dance floors worldwide. Even James Brown, one of Bowie’s idols, was reportedly so taken by the groove that he released a song called “Hot” which bore a striking resemblance to “Fame”, though it ultimately failed to chart.
Looking back, “Fame” stands as more than just a hit song from a bygone era. It’s a time capsule of an artist grappling with the complexities of success, a cynical yet compelling look behind the velvet ropes of stardom. It reminds us that even amidst the glitz and glamour, there often lies a deeper, more nuanced reality. And in its funky beat and sharp lyrics, “Fame” continues to resonate, a testament to David Bowie’s enduring artistry and his uncanny ability to capture the zeitgeist with a unique and unforgettable sound.