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Back in 1974, Earl Slick was a 22-year old jobbing session guitarist fast developing a reputation for his supple, searing style and versatility in all idioms. Hired by Bowie to join his Diamond Dogs tour, Slick then had to suddenly pivot from apocalypto-rock to sleek Philly soul at a moment's notice - but acquitted himself so well, he was invited to play on tracks destined for Young Americans before forming the core band, alongside Carlos Alomar, Dennis Davis, George Murray and Roy Bittan to cut the extraordinary Station to Station, in LA, during October 1975.
Bringing his charismatic flair to the sessions, Slick rose each time to Bowie's demands for an esoteric sonic palette, turning in one bravura performance after another despite, by his own admission, almost matching Bowie's ridiculous drug consumption levels at the time. Although his boss's directions could be at times gnomic - Bowie instructed him on one occasion to simply play a Chuck Berry riff repeatedly throughout a track - the pair sparked off each other, forging a deep bond. Despite a contretemps between Bowie's management and Slick at the end of the sessions, Earl returned to the Bowie band in 1983 for Serious Moonlight and then again during the early 2000s, when he became again, a key member of the group, up to The Next Day.
Today, Station to Station stands out as one of Bowie's finest records, the pivot from Young Americans' funk and soul to the electronic abstractions and experimental textures which would emerge fully with Low. Despite the frenzied sessions, the album's six tracks are each mini-masterpieces.
In this episode, the first of two devoted to the album, we take a leisurely stroll down memory lane and begin with Earl's reminiscences of pre-Beatles America, his first audition for Bowie and Visconti, bafflement at the Philly soul era, meeting and forgetting (and then meeting again) John Lennon, and the intense sessions that made up the first side of Station to Station.
Thanks to Earl, Oliver and of course the regal Tank for all their time and help in assembling this episode and as ever, please do let me know what you think of our chat and share this podcast far and wide!
Follow Earl Slick on Instagram and Facebook
Intro/Outro music by Leah Kardos
Bringing his charismatic flair to the sessions, Slick rose each time to Bowie's demands for an esoteric sonic palette, turning in one bravura performance after another despite, by his own admission, almost matching Bowie's ridiculous drug consumption levels at the time. Although his boss's directions could be at times gnomic - Bowie instructed him on one occasion to simply play a Chuck Berry riff repeatedly throughout a track - the pair sparked off each other, forging a deep bond. Despite a contretemps between Bowie's management and Slick at the end of the sessions, Earl returned to the Bowie band in 1983 for Serious Moonlight and then again during the early 2000s, when he became again, a key member of the group, up to The Next Day.
Today, Station to Station stands out as one of Bowie's finest records, the pivot from Young Americans' funk and soul to the electronic abstractions and experimental textures which would emerge fully with Low. Despite the frenzied sessions, the album's six tracks are each mini-masterpieces.
In this episode, the first of two devoted to the album, we take a leisurely stroll down memory lane and begin with Earl's reminiscences of pre-Beatles America, his first audition for Bowie and Visconti, bafflement at the Philly soul era, meeting and forgetting (and then meeting again) John Lennon, and the intense sessions that made up the first side of Station to Station.
Thanks to Earl, Oliver and of course the regal Tank for all their time and help in assembling this episode and as ever, please do let me know what you think of our chat and share this podcast far and wide!
Follow Earl Slick on Instagram and Facebook
Intro/Outro music by Leah Kardos
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