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The riff only appears once more (after the third verse, just before the “second half” of the song), but Ronson’s guitar dominates the rest of the track by various means. In the first three verses, Ronson repeatedly uses another motif, a bit of fast riffing (E-E7-E), to fill in after Bowie’s pauses and to rev up the ends of lines. Most of all, there’s his first solo, a 40-bar series of staggered explosions that begins with Ronson bending a G string as if he intends to snap it off. Loud, fleet (Ronson plays the same lick nine times in five seconds) and magnificent, the solo is Ronson’s grand debut: nothing of its like had ever been on a Bowie record. (via The Width of a Circle «  Pushing Ahead of the Dame)

The riff only appears once more (after the third verse, just before the “second half” of the song), but Ronson’s guitar dominates the rest of the track by various means. In the first three verses, Ronson repeatedly uses another motif, a bit of fast riffing (E-E7-E), to fill in after Bowie’s pauses and to rev up the ends of lines. Most of all, there’s his first solo, a 40-bar series of staggered explosions that begins with Ronson bending a G string as if he intends to snap it off. Loud, fleet (Ronson plays the same lick nine times in five seconds) and magnificent, the solo is Ronson’s grand debut: nothing of its like had ever been on a Bowie record. (via The Width of a Circle «  Pushing Ahead of the Dame)

  1. jbacardi reblogged this from douglaswolk and added:
    best Bowie release,...I sure do listen...it was. I heart...
  2. douglaswolk posted this