Bowie @ KFOG

September 16, 1997, 3-4pm

KFOG San Francisco 104.5FM
Hosts: John Gruppone & Anna Lisa

Transcript by Anonymous 9/20-30/97
No guarantee for name spelling. Missing/unclear pieces are in [].
Listening was tough due to frequent KFOG transmission breakdowns for 0.2-20 seconds.

(Bowie was at his best throughout the interview, very humorous, and playing all kinds of roles and ironic jokes on the interviewers and audience. He sounded happy and relaxed, and seemed to be having a genuinely good time.)

DB (after applause has ebbed off) Well, thank you very much, thank you very much indeed.
(theatrically, because it's definitely pm:) Good morning, John and Anna Lisa.

AL I've waited my whole life to hear you say that. (all laugh)

JG You know, I thought, if it's all right, I thought I would start off by reading a little excerpt out of this book.

DB (trying to read the title) "Rocklists" - it certainly does - [to the left -]

JG "Rocklists", written by Dave Marsh and Kevin Stein. It's got your typical debut albums, and the best rock festivals, and the tallest rock stars, ... (DB: Ah?!) ... and on page 109, it `s "the least promising interview openers Cameron Crow has encountered." (AL: Uh-oh. DB laughs) See if you can guess (DB: Oh no!) see if anybody can guess - I'll read a few. It says "Hold on - aren't you the one who called me `The Liberace of rock'?" - That was Elton John. - "I changed my mind." - That was Pete Townsend. - "I think I just saw a body drop outside that window. Did you see a body drop? Let's go outside and see. I know I saw a body drop." - David Bowie. (all laugh) The book came out in 1981 (AL: Jesus!).

DB Just a kind of a tantric-magic thing. I was just, you know, sort of seeing how knowledgeable he was in the philosophic arts.

JG Well, we have no windows here, so ... (Gabrels and Bowie talking in the background)

DB I just saw star quality pass by the windows - ah. another rock'n'roll suicide! Uuaah...
Good morning, John. Good morning, Anna Lisa.

AL Good morning, David Bowie. Since everyone is talking about digging through the books, I'd dig through - you know, naturally you'd be in the Encyclopedia of Rock. You're right between...

DB (whispering as if telling a secret) You know, I did not know. I did not know this.

AL You're right between Pat Boone and the Boxtops.

DB Pat Boone!

AL And the Boxtops. I mean alphabetically.

DB Same color socks as Pat, you know, big on white socks.

AL None of the other characteristics.

DB Probably wondering [] Neither of us wore anything other than our socks this morning.

AL But you have a quote in here that you made in 1975. I wanna bring it up now, and then we'll go past all the past (JG/DB: Whoop!) and then we'll go back to the future. Where you've said: "I've rocked my role. It's a boring dead-end. - yaddiyaddiyadda, blablabla - and the last thing I want to be is some useless `expletive-deleted' rockstar."

DB And still to this day, I have that kind of enthusiasm about what I do. (all laugh)

AL But see, you've been anything but..

RG/JG Got fooled me.

DB (laughs) It's funny how things change. I changed my mind. I swapped it with Pete Townsend. He now has mine from 1975, and I have the one that he should be using these days.

JG Right, right.

AL You don't have to do that. I mean, you can certainly do whatever you choose. But you've managed to keep it fresh and interesting over the years, and for that, even we have to thank you. Because, you know, at each churn, you've never been dull. You've been so many things in your 50-grand years on this earth, but you've never been dull. Unlike, you know, probably me right now, but...

DB: (in an old-man voice) I have every intention to play my songs as marches, waltzes, rumbas...

AL: And the other thing is, too, with you being...

DB: ...backwards, forwards, sideways,...

AL: (finally catching on) ...solo acoustic, standing on your head (DB:Yes.) (AL with a cockney accent) Roight.

DB: Play them accompanied only by the diggeridoo and a fine pair of British boots? (all laugh.)

AL: Could you sing us Happy Birthday now? Just kidding.

DB: Do you know you have to pay copyright on that? Seriously. This is bizarre. Even if you are alone at home (audience laughs) on your birthday, (JG: Well, we sang it at the station today.) and you have just a small - like a brownie or something, with a candle stuck in it, and (sings very softly and tentatively) "Happy birthday..." - you gotta pay somebody for doing that.

JG: Oh boy.

AL: Are you going to sing for us today?

DB: (flippantly and determined) Nope. (audience laughs)

AL: Fine. Okay. Bowie will now sign-language (RG: Next question.) the entire fabulous Earthling album. (DB: This will come back to me, man.) Reeves on air guitar.

DB: Air guitar. Very good book by Dave Hickey (AL: Haven't read it.) Actually just came out this week.

AL: And it's...?

DB: A collection of art criticism from one of the leading lights, I think, in American art criticism. Lives in Las Vegas, (giggling) which says a lot about what his view on American art is. [?just the lights?]
Sorry `bout that. I'll grab a guitar. (AL: Sure.)

Guitar-handling sounds. Someone in the audience asks something off-mike.

DB: What? An art-free zone? - I just got to see some work by a great group of artists from San Francisco from the late sixties called the Gluers. (AL&JG: Really?) Do you know the Gluers? (Solo clapping in the audience. JG: I think one of them is here.) You know, quite fantastic stuff. It's somewhere between outside art and, ehm, madness. This woman has spent her whole life just gluing tiny little bits of debris that she's found, presumably in old thrift shops and things, onto this enormous shrine she'd made. Must have been about 8 foot by 12 foot by 8 foot. Huge piece of work. And it's covered in buttons and...

AL: Where'd you bump into that?

DB: It was outside my hotel bedroom this morning. I have absolutely ... (AL: Come on...! She just thought it's moving time.) Somehow wheeled it up from the foyer. (AL: This was art in motion.) And wanted me to autograph it.

JG: And then you saw the body drop by the window. (All laugh.)

DB: (to RG) What song do you...? - Thank you very much, Reeves. - I've got a new roadie. We had an argument, and he screws my picks to the top of my guitar now.

SONG: Always crashing in the same car

AL: Thanks for the song, gentlemen. (JG: Yeah!) You know, all these people in the audience - we had had people fax in, because there's obviously limited space - so really everyone who is here truly, truly was dying to be here. And they have a lot of questions that they wanted to ask you. Would that be all right?

DB: I'd love to hear them. And possibly answer them.

AL: Would you guys like to - would you want to start with her first? JG: How about Brian? AL: Oh, Brian, come on down. JG: Up to the microphone, Brian.

DB: O'Brian. Irishman.

Brian: Hello, David. (DB: Hello.) Yes. Who is your favorite person to write and record with?

DB: Ahm - (RG: You don't have to say Reeves Gabrels. That is just a given.) - Well, no, actually it was Marilyn Monroe, but unfortunately we never got the chance to collaborate, but I really we might have been able to make some beautiful music together. That was my favorite person to write with. But he'll do, for the time being - Reeves Gabrels.

RG: Well, you don't that whole cryogenic system with me...

AL: You didn't get Marilyn Monroe, but you got Catherine Deneuve (bad pronunciation) (RG repeats: Denoof?)

DB: Catherine - oh yes, Catherine Deneuve (doesn't pronounce it much better either), yes I could write with her. (audience laughs, DB keeps going that way) Oh, there's a few, really: Susan Sarandon (some "The Hunger" association in his mind?), could write with her... (AL: I bet.)
I think probably I - put it in another word - don't think that there's probably anybody that I haven't actually enjoyed working with. Everybody that I worked with, I've been extremely lucky. They've always been good experiences, from Lou to Iggy, and to Eno, obviously, and him, upstairs.

JG: Now, did you start with Reeves - we were trying to figure this out - Tin Machine, was that your first time with Reeves?

DB: Yeah, we've now actually been working together since nineteen-eighty-... late eighty-seven, something like that, it's been...

JG: Someone told me the loudest show at the Warfield was Tin Machine, about 10 years ago.

DB: We were the loudest show anywhere. (all laugh)

AL: Is that quite an honor?

DB: It took the place of competence.

JG: How about we go to a question from Rebecca - Rebecca? Here comes Rebecca, look, Anna Lisa, yeah!

DB: Hi, Rebecca. Great movie.

Rebecca: Thank you. - Throughout the years, you've worn some pretty incredible outfits. (DB laughs) Do you keep the wardrobe, or is there a Bowie outlet I can visit? (All laugh.) At a discount price!

DB: You know something? Everything that I've ever worn travels with me on every tour that I do. It's all back at the hotel, and it's the kind of clothes - I mean (probably looking at what he's wearing that day), this is "David Bowie regular guy" clothes I'm wearing today. but when I go out, you know, in the mornings and go and get cigarettes and things, I pop on a pair of the Kanzai Yamamoto stack-heel boots, (all laugh) and put all the makeup on, you know, put the red wig on, just to see if I'm still needed by anybody. You know, nobody ever pays the slightest attention. It shows how times change. - (more serious again) I do have everything, at home, yeah.

AL: Do you have that suit with the hands that were strategically sown?

DB: Yes I do. (AL: I love that.) That was a rip-off from Ballet Rombe, I think, in Britain. I saw it and I thought, I want that - I'll make it.

AL: You got to see much more. Cause I was a kid in the States, when I turned on the TV and saw that and thought "Oh, there's the man, that's it!"

DB: Well, I had one on the groin as well, (AL: I noticed!) but the producer made me take that off, which I don't actually think was a very good idea, but hey - he seemed to ... (AL: Hello!)

JG: Have you been walking around on the off days in San Francisco?

DB: Oh yeahyeahyeah, no, we...

RG: Much better since he had the hand removed. (gets applause)

JG: That's a dead giveaway. - Reeves Gabrels, all right!

DB: Watch out, he's opening up! Open the cage. (laughing) He's quiet, but when he speaks, it's deadly.
Yeah, I, it is one of mine - this is not, (acting) I'm not jiving here, I really mean this sincerely from the bottom of the well - but this is one of my favorite cities for walking around in. And it's just great. it's really terrific.

JG: It is. - How about a question from Carol Johnson in the studio.

DB: Hi Carol.

Karen: Hi David. - David, I read an article, actually an interview that John Gruppone did with you that was published by KFOG. and it said in there that your life was much more spiritual now than it was back when you were 25. And I was very curious if there was a particular teachings or spiritual master that you were following.

DB: I think probably, ahm - wow, that's an extraordinary question, but I - no, it is very serious to me as I get older. I think it happens to all men, that - I use that in the pluralistic fashion, of course, inclusive of women - that there's a sense that the one thing that one doesn't work for hard enough and fast enough early in one's life is one's spiritual well-being. It's kind of "Oh, I'll get to that later on, just before I die. I'll say a quick prayer, you know (in a toothless careless voice): `Ah, sorry, ah, you know, sorry about everything that I did, and, ah, can I come in now?' " You know, sort of - I fully believe that the fact that one thing we can be certain about is death, in the delightful way that one can think about it, that it is something that one should probably think about every waking moment of one's life. I haven't got to that stage yet. But I guess, if anything else, I had a period where I was interested in Tibetan Buddhism when I was in my 16-, 17-year old. And I keep making inroads back into that again. But also there's a western tradition called gnosticism that I was kind of interested in, too. I don't think I follow one particular spiritual path, but it's - it's kind of a "morning blend" of gnosticism meets Tibetan Buddhism. It's like - very Mars...

AL: Works for David. - Thank you. - Another question?

JG: How about Kathy? Kathy - can't see her last name- here she comes - we'll just call her Kathy Kathy.

DB: Like Duran Duran. (JG: There you go.) Kathy Kathy. Hi.

Kathy: Hi David. I really enjoyed hearing you play "Panic in Detroit" at the Warfield last night, (DB: Yeah) and I was wondering what are your favorites of your older songs, and maybe one of your newer songs that might be one of your favorites, and also, what music do you like to listen to, older, newer?

DB: Okay, I think, quite frankly, the songs that we're doing in the show - and they do change somewhat from night to night - they're all songs that I really feel good about singing. So I would hate to separate one from the other. I think they're songs that I really feel that I can give, add something to, and I can do them with pretty much 100% integrity. I feel that I really believe in the songs that I'm singing at the time, otherwise they wouldn't be in the show. - Favorites, that's difficult to say. I guess if we've left one for a week, and we haven't done it on stage, you know, that becomes a new kind of when I say "yeah, let's do that tonight", you know. For instance, the last couple of shows, we've been doing this song that we just played earlier, "Always crashing in the same car", which we actually hadn't done as a band before, and it's just exciting to take something that you hadn't done before and just play it live. We will be doing that again tonight, taking two or three interesting new pieces. - It's hard to actually come to favorites. At the moment, we're doing a new version of "I'm afraid of Americans" which we're enjoying a hell of a lot, (AL: Us too) `cause it's really aggressive and that...

JG: Well, with that in mind, and you just happen to have guitars in your hand, maybe we can get a song or two on KFOG?

DB: Sure, absolutely. This is one that we also - ahm, there's a film called - okay, go back. There's a writer called Rick Moody who brought out a book a couple of years ago called "The Icestorm" which I thought was quite wonderful. It's about a dysfunctional family in the 70s, something that fascinated me. I've met such people. (all laugh) and it was just made recently into a movie, which comes out at the end of this year. And coincidentally they chose one of our songs that Reeves and I wrote in Tin Machine for the music for it. It's called "I can't read," and so we'll do that for you.

SONG: I can't read

DB: The film, by the way, I can't stress, didn't help [?] because that song's in it, it's the most wonderful film. it just [layed the, I think, New York film festival, got a prize there. It was directed by Ang Lee, as he probably knows very well, is the guy who [?] Kevin Cline, really fabulous film - great film, comes out at Christmas, just in time for the holidays.

AL: Well, we also have a couple more questions from the good folk in the audience. Do you know who...?

JG: Steve from Richmond. AL: Hi Steve, I talked to you on the phone.

DB: It's not Mark Steve, is it?

Steve: It's Steve Marc, with a "c" on Marc.

DB: You're kidding me. (Steve: No.) Are you serious?

Steve: Would you like to see my drivers license?

DB: Yes I would. This is just... unreal. - Uh-oh. (AL: Is it a reunion, kids?)

RG: Do you have any spoons we can bend?

DB: (laughs) When we got off the airplane in Vancouver, a guy who dressed like a Mormon came up to us and said: "I'm your driver, and my name's - Steve. I'm really called Mark, but [?] called Mark, so I'm Steve." I said: "Fine."
So our enginator came in here and he said "Hi, I'm Steve" and I said "Mark, right?", and he said "Steve Mark, yeah, that's my middle name." And now like - you! (AL: Hey!) Like, what's going on here?

AL: It's a full moon thing.

Steve: Just one of those things, I guess.

DB: It's a West Coast thing.

Steve: Kismet! - Will you please teach us the hand motions for "Satellites" so that we can do it along (DB laughs) at the show tonight?

DB: Oh yeah. Right: I'm going to teach you the hand motions on radio!

Steve: Describe them verbally.

RG: There are hand motions?

DB: I'm doing hand motions. You're too busy playing the guitar. I'm doing all kinds of shit over there on the left. - What's the first line? (To Reeves?) You don't know.

Steve: Nowhere...

DB: Oh yes, that's right. (Steve: Shampoo - TV - Comeback)

AL: So apparently earlier when I said "David will sign," I wasn't far off. - (DB: That's it.) For those of you listening on the radio, it was beautiful. Thank you.

DB: Funnily enough, that's the second time in this last ten days that I've actually had to do something like that. I did the complete mime version of Ibsen's "The Seagull" only last week. (AL: Come on...)(someone: Here in San Francisco.)
Here in San Francisco, yes.

AL: You can do that on a corner and make lots of money here, like you need that.

JG: One more question?

DB: Please, yes.

JG: Christine from Los Altos. - You know, I'm assuming they forgot their question, so I'm giving them the cue card again.

Christine: Do you have any plans to make movies in the future?

DB: No. Frankly, no. Not at all. And it's not actually something that appeals to me very much. It's kind of - I'm in one of those ridiculous situations where people will ask me to do walk-on things, because you know this will always get somebody to do - you know, somebody with a name to do this walk-on. And so I get a lot of chances to do some interesting things, which I'm very grateful for. But it's not something that I - it's too much hard work. And I'd love to be a film star, but I don't like all the work that goes with it. You know, I kinda like to see posters with my name on them and stuff, but you've got to like learn about acting and stuff. (laughing) It seems like such a long, hard thing to do. - But the few things that I have enjoyed very much, so I tend to choose things because I think the director is really interesting, and it'd be kind of great to watch how he creates things. Or I know people in the cast, and it becomes like a "friendly" thing.

JG: If a movie was to be made about your life, who do you think you would choose to play David Bowie?

DB: John Gilgood. (all laugh) But presuming that this is at the other end of David Bowie's life. I think Gilgood would be a wonderful David Bowie. (AL: How about anybody but Tom Cruise?) (very old man's voice) Zziggy Staadust... (laughs)

AL: I love how [he's wanking?]

DB: I know some wonderful Gilgood stories, but I can't tell them on the radio, though, unfortunately. (laughs)

JG: So maybe it's time for a guitar song.

AL: With Reeves and David at KFOG.

DB: Yeah, okay. (RG: You can tell...) Which one can I tell? I can't tell any of them. (RG: Nice new fixtures, though.) No, I can't do that. (RG: Makes you - no.)

SONG: Scary monsters

AL: David Bowie, Reeves Gabrels in our super-private undisclosed location, studio audience of Fogheads, on the radio at KFOG, with more questions to come from our fabulous audience.

JG: Jessica, it's your turn now.

Jessica: Okay. - Hi. (DB: Hello Jessica. ) What's been you favorite period in the history of your music life?

DB: Ahm - I've got to say "Right now", haven't I? (RG: Mhm.) There really is no alternative answer. And if it isn't the most enjoyable period, then I should stop. I'm just having a great time now. For some reason, everything is in balance for me generally. There's like a confluence of stars that are really making this a happening period in my life. (audience laughs, must be some visual joke) - I'm enjoying the writing that I'm doing. I think the records that we're making over these last five years, I think they're terrific. I think the stage performances are really solid and so enjoyable to do, working the way specifically that we're working with a smaller-size audience. And I just - I'm a happy guy.

JG: With the balancing in your life, David, I mean, is that part of the reason why you chose [the Warfield/smaller locations]? Obviously, you could have sold out Oakland stadium, the Oakland Coliseum.

DB: You see, it's interesting, `cause I'm not sure I would have been able to do that. (AL: You sure would.) I think if I had structured a show which consisted of big hits, I think I'd stand obviously a much better chance of doing those size venues. But I've taken a different kind of route to play what are considered more obscure things within the set. And the majority of the set does reflect my current interest in music, and the past catalog that I feel works within the context of what we're doing now. So one has to forsake probably a certain degree of popularity to do what one knows that one should be doing, rather than, you know... (applause)
(jokingly) And everything I make, I give away to charity, everything!

JG: If you have tickets for the Warfield tonight, consider yourselves very lucky. - Let's get a final question, an then maybe we can get another song out of David and Reeves. Chris Gibson?

Chris: Good afternoon, David. (DB: Hello.) I have a two-part: Do you anticipate being knighted by the queen... (DB laughs) ... not unlike Paul McCartney? (AL: Who? - Paul McCartney. Oh.)

DB: (laughing) This is not my favorite subject. It is nothing that I anticipate in the future, no. (Chris: Cool.) What a strange question.

Chris: Would you like to [hear "Candle in the wind"?]?

DB: Sure.

Chris: [?] to avoid that. - And the second half has already been kind of touched on, but just about buttons: What have you been doing in San Francisco for the past week?

DB: I - (laughing) Frankly, I've done a lot of shopping. (AL: Where?) How crass. I've made so many visits to the Tibet shop, you wouldn't believe it. I'm wearing half of it now. There's a wonderful little place here called the Tibet Shop, I don't know if you know it.

JG: It's on Polk Street.

DB: Yes, you've got it! And I think the majority of the proceeds from that go to the Free Tibet organization. So if you fancy buying a little present for anybody, please go and deposit your money there. That's one of my favorite places. I always - I tend to go to art galleries a lot. I just look at what's on. And I guess when I leave here I'll be back out there with my shopping bag, ... (Chris: Carousing.) Carousing, yeah.

Chris: Cool, thanks. (DB: Betcha.)

AL: Are you an art collector?

DB: I am, yeah, yeah. Obsessive.

AL: An obsessive one?

DB: I've been collecting for years. I started in the late sixties with at that time, I guess, an unfashionable thing, which was Art Deco and Art Nouveau, and sold it well before it became really popular. Because I needed the bread to buy like amps and guitars and stuff like that. I'm a kick-myself art collector. I always sell my stuff before it becomes popular.

AL: Well, hold on to it for now. And your own, too. You're a fine painter yourself.

DB: I do paint, yes. I'm very - I'm quite serious about it and I exhibit quite seriously in Europe. I also sculpt and do installations. I do bathrooms, windows, escape [?] and I ski.

AL: And his hobbies include - He's a renaissance man. (DB: Yeah.) Sort of. For sure.

DB: (teethless voice) I'm not tha' old!

AL: I didn't mean it, though. But, you know, did you ever think that in your fiftieth year you would accomplish as much? Have you looked at your resume lately? My god! (DB laughs.) Broadway, film, ...

DB: No, no. Don't look back.

AL: I'm so happy for you. You know, I'm happy that you're in the space that you're at right now, and it shows what a good time - Those of you who have tickets for tonight: I left the show sweat-drenched, rosy cheeks, wobbly-kneed,...

DB: I can't tell you - We come off stage every night, and we just hug each other. I mean, it's just, it's such - These are such wonderful shows. And we only started a few days ago - Vancouver, Seattle, Los Angeles, and San Francisco. That's all we've done so far. And it's just been a joy. I mean, the audience has been so warm and receptive to what we do - just great. (AL: It's really wonderful.)

JG: We should mention the new one is Earthling on Virgin Records, if you don't have it yet, David Bowie and band.

DB: Or Virgin on Earthling Records, which is going to be the follow-up. (laughs) Actually, that's not a bad idea, is it? That's quite funny, sort of a Hindu thing: Virgin on Earthling - Virgin on human. (laughs)
(chewing-gum voice) Do you know that this studio is built on the foundation of the Credence Clearwater, some of which I notice (AL: You're giving away the location right now.) - yes, it's flowing between (all talk)

JG: It's chunky, though, isn't it?

DB: It's chunky. I wouldn't give much credence to the idea of it being clear. It looks rather impure to me.

JG: Nothing you can't fix with a strainer.

AL: You know, there's someone else who I know had a question, and hopefully - I think you might be surprised. Our webmaster Steve Cordoba, who stood behind me. (JG: Come on up, Steve.) Come on up and ask.
Steve was chain-smoking before he came in here: "Oh, it's Bowie, it's Bowie!" - Here's Steve.

Steve: Which one was I going to ask? Oh yes: Just wanted to know the reception people have had using the drum & bass sound (DB: Yeah.) in the music, and also, has that had to change the way you had to approach it in the studio to keep that human feel to it?

DB: The reception in America - as you probably know, it's a pretty popular form in Europe, I think it's more accessible there, as well as played a good deal on radio and in clubs - and coming over to the States, we were a little cautious, a little reticent about how hardcore we should go with what we do. Tonight, in fact, we're putting in a few, a couple of hardcore drum & bass things in. Just being a little careful about it, because we know that it's not really achieved. It's got a kind of a ceiling at this moment in the States. I guess the breakthrough will come. Our approach to it is again the usual that I have as a musician that I tend to hybrid everything, you know. So - and the Earthling album demonstrates that pretty much - what we've tried to do is amalgamate the vocabulary of dance, which includes drum & bass, but it also includes techno, and establish some kind of [aggression?] with rock music per se. So it has the organic feeling of live instruments against samples and loops. And really for us - there's a bunch of French we have over in Britain called Apollo 440 who work in a similar way. And at the moment we're kind of the only two bands that are working in that style. Most of the other hardcore dance bands are purely synthetic. They work with just computers and tapes and loops. There are few bands - I think Soul Coffin in America is actually working in a similar way. That's one of the others. But I feel strongly that that's the way that it will become a wider, more accessible kind of music to people.

Steve: It's definitely worked so far.

DB: We're having a ball, yeah.

AL: Thank you, Steve. It's David and Reeves in the studio with a special studio audience of Fogheads, on our 15th birthday and all, with Anna Lisa and Gruppone, and maybe - would you grace us with another song? - Forcefully asked, wasn't it? (fan voice) Maybe could you play a song?

RG: Yes, we'd like to do that.

AL: (fan voice) Do you take requests? (DB: Ahm - ahm...) Just kidding. (all laugh)

JG: Is there any reason, before you start, is there any reason why, unless you do change it - I don't know, I didn't ask Bill Evans - nothing from Ziggy last week at the Warfield. Have you been doing anything from Ziggy ? It's the 25th anniversary...

DB: It's a hard - That's a hard thing for me to approach. (To RG:) What did we do? We did "Moonage daydream" last night.

JG: Last night was the show to be at!

DB: It was an interesting show. It was really good. Ehm - I mean, I always make a point of going back on my word. So there is going to be a time in the future when I will play some of those things again. But I feel that I have to distance myself to the extent that I start to feel a need to play those things again. And I did do an awful lot of those things for ... right through the seventies and an awful lot of the eighties. And sometimes you just have to put them away for a while so you can approach them again with enthusiasm. And I don't see the point of just trotting them out to meet an audience's expectations. (applause) Cause I don't want to ... it's just ...

AL: It makes it more interesting for us.

DB: I'm not sure if that actually - you should be booing, really! (cockney accent:) Whoy don'tcha do Choina Goirl, ya... limy pansy! (RG strikes a few chords from China Girl, all laugh) See? - I can't resist, one more time...
but I think, quite definitely, there will come a time when I want to do them again, but with revived interest.

JG: Well, the thing about - we were talking about this before - the great thing about David Bowie is he's got a) so much material, and b) you do rework a lot of the songs, and it sounds like almost a new song. So it's [?] my standpoint of view, and the audience as well.

DB: I think it's what - if we're talking on a slightly more serious note - it's about whether you decide, when you come to a certain stage in your life, whether your intention is to maintain a career, or whether it's to keep expanding as an artist. The is some compromise made, I mean, obviously, I'm not doing a [dead-all?] show. There are songs in the show that people know, because I don't to loose their attention completely, obviously not. But I think there comes a point when you start to think that maintaining career also means just becoming a kind of a walking jukebox thing. And that really is not fulfilling for an artist, unless he's - I don't know. It just becomes a commerce thing after a while. And one has to just make a decision, I think, it's as easy as that. Now how do you want to spend the rest of your life? What is it one wants to do with one's life? It's a quality-of-life thing, I think.

JG: All right, thank you. How about we talk about the next three or four minutes in a song?

DB: Okay. - This one, you want find much quality-of-throat. (old man voice) I've got some high notes to hit in this one. It's a bit afternoon for me, and - haaah (gives a high weak moan, RG joins in) - Think of a pure C somewhere out there...

SONG: Dead man walking
(right in the first "and I'm gone, KFOG goes away, airs half a McDonalds commercial, comes back to the last refrain after 20 seconds - aaaaarrrrgh)

JG: David Bowie, Reeves Gabrels- the new one is Earthling on Virgin, or Virgin on Earthling, thank you very much - "Dead man walking" - thank you so much. (applause)

AL: [?]for David. thank you very much for coming.

DB: Thank you, Anna Lisa, thank you, John. Thanks very much.

AL: May the next 50 years be as wonderful as they have been. - And with the applause, a whole list of credits to [?]. A bunch of KFOG thanks of course to David and Reeves... (not much applause) You guys, these are just the credits, this is the part in the movie where everybody starts to file out... Mark Edwards and [?]

DB: (British accent again) Be polite and god save the queen, eh.

AL: Thanks also of course to Virgin Records, to Aggi and the folks here at - I guess we can't say - Blank Studios, that would be Fantasidio (Fantasy Studios in Berkeley or Presidio Studios in SF), Nina Bombardier and Dennis Alaquir, and the sound has been mixed today by Steve Fontano, thank you very much, Steve, and assisted by Ron Meersan. KFOG engineering: Bill Rogg and Tony Cruise - as opposed to Tom, `cause we're not too keen on him. KFOG promotions department: Jude Heller, Wendy Pierson, Bridget Viera, and thanks to Bill Evans who's in there engineering, and Eileen Riviera, and of course all of you. And thanks again to David Bowie.
(applause and mingled voices)

DB: Now that we're off the air: Get the hell out of here, everybody! - I'd like to say honestly thank you very much for - I know a lot of you people have supported all of the things that I've done and the changes - it really is appreciated, thank you very much. (real applause)

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This document last updated Tuesday, 15-Sep-1998 21:50:35 EDT
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