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I also remember being completely free to do whatever we wanted on The The Man Who Sold The World. He also could read and write music - a bonus for me. He was a super rock-god player, and an aficionado of Jeff Beck - who was one of our gods, too. I can't emphasize enough how much Mick was the missing link. When his friend, drummer John Cambridge, introduced us, and we had a jam with him, The Man Who Sold The World almost wrote itself. MICK RONSON - Picking the guitarist kind of set the tone for each album. I worked with a lot of great guitar players during my time with David. We would also record lots of alternative parts that we would edit at the mixing stage - even back in the analog days. I never touched the amp settings on any of the guitarists - except for David - but I'm pretty good at describing what I want in very specific terms. I rarely notate, because that makes the guitarist turn down (hardy, har, har). I'm pretty good at dictating parts and calling out the notes by name. Then we'd start bringing the player around to the way we heard things. Because we worked with such talented guitarists, the basic process for album sessions was to let them come up with the first idea. Some came from him, and some came from me. We would sit down and listen to a potential guitarist, but David and I were always on the same page when it came to session musicians. I was always consulted about the choices of guitarists. As my productions will be heard in the future, I think in the future.ĭavid and I always had preproduction meetings to discuss new ideas, listen to records for reference, and sketch out the outcome we wanted to achieve. I work in a very unorthodox way - I start each new album as if it is my first. My job as a producer is to always interpret the ideas of my artistes. TONY VISCONTI: "HE PUT NO LIMITS ON HIS IMAGINATION"
We hope you enjoy reading how this ever-curious, buoyant, and restless artist was aided by the players he trusted to interpret his work through six strings and ecstatic tempests of glorious noises.
I was so grateful to reach so many Bowie guitarists and superstar producers Tony Visconti and Nile Rodgers, while Michael Ross was able to talk to David Torn, as well as get a little more "Bowie info" from Ben Monder, who he profiled before the music legend's passing in our March issue.Īs our own small tribute to David Bowie, we'd like to treat this cover story as he typically directed his many exceptional guitarists by staying out of the way and letting the players do their thing. Getting the guitar story behind all of Bowie's artistic shifts and evolutions was a rather significant undertaking, and we can't offer enough appreciation and thanks to the guitarists who shared their memories of recording sessions, live shows, signal paths and gear, production concepts, songwriting, and more - even as they were grieving over losing a friend, peer, collaborator, and/or mentor, and were already being barraged by the mass media. A stylistic chameleon of the highest order, Bowie also gave us an opportunity to hear the guitar raging unfettered in a number of musical genres, from experimental to pop, new wave to industrial, R&B to funk, and beyond. Bowie worked with some of rock's most transcendent guitarists, and he gave them the space to expand their techniques, tones, and creative concepts through his music - all while maintaining their individual imprints and approaches. But perhaps missed by much of the culture at large was how epic his influence was on the guitar. Guitar Player APRIL 2016 - by Michael Molendaįorty-six years of David Bowie's exquisite guitar textures as told by the guitarists who played them.ĭavid Bowie's death from liver cancer on Janujust two short days after his sixty-ninth birthday - was a shock and a blow to the world's music lovers. Turn on javascript to use the drop-down menus.
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