Bittersweet Christmas Countdown #3
Bowie & Bing
Our third bittersweet present is a tribute to unlikely partnerships.
Diametrically opposed credos often produce magical results and sometimes we need to get over superficial differences in order to explore what collaboration in the crucible of diversity can create.
History
We are in Elstree studios and it’s 9/11, 24 years before THE 9/11 and Queen Elizabeth is still in her silver jubilee year. Bing Crosby is recording his regular Christmas special. As it happens, this will be his last. He won’t live to see Halloween let alone Christmas.
Alighting a taxi are David Bowie and wife Angie Barnett, both bedecked in mink coats, mascara and lippy. Bowie was allegedly coming off the back of a particularly profound bender, the like of which would have rendered ‘fear and loathing’ irrelevant had it been documented.
His career has taken an interesting meander. There have been allegations of fascism that Bowie puts down to his ‘Thin White Duke’ alter ego who was hoovering ‘Fat White Lines’ of coke in ever decreasing spasmodic circles. His style has since become different albeit as daring and experimental as ever. This includes a trippy collaboration with ambient aristocrat Brian Eno, much of which is mired in a blurry Berlin miasma that will continue until the end of the decade. He’s also starred in a cult movie and secured his first American number one. Some journos suggest that he was seeking a rehabilitation into the mainstream, a relative term when conjoined with possibly the most inventive and eclectic rock star ever.
Bowie is about to record a duet with Bing Cosby who some think only knew him vaguely through his children. The song of choice is also one that he utterly loathes.
This is an Inauspicious cradling for arguably the best Christmas duet of all time and a song that ranks as some peoples Festive favourite.
So how did it happen? Bowie’s unbridled loathing for the ditty luckily became apparent in advance so the ‘peace on earth’ counterpoint was written for him Larry Grossman and Buzz Kohan. There is an alternative theory to why Bowie appeared, some citing the fact that his Mother adored Bing Crosby.
Whatever Bowie’s motivations, the collaboration is inspired. After initial pleasantries facilitated through Crosby’s faux Butler Hudson lending Bowie his piano. We then get into some multi generational banter which quickly melts into the majesty of the song.
The piece is one of the most opulent examples of how one and one can sometimes equal 103. Crosby’s grounding dum dum dum dum dums evoke the original earthy Czech ballad and are given wings by Bowies soaring interpretation of the new ‘Peace on earth’ counterpoint.
Crosby said of Bowie after recording, “clean-cut kid and a real fine asset to the show. He sings well, has a great voice and reads lines well” The first three words are deliciously ironic.
Beyond tribalism
For me the magic. Mystery and goose bumps of this piece owe much to the profound differences between Bowie and Bing working in harmony. Here in lies a lesson.
We exist in a polarised world. Brexit v remain, Gen X v Baby boomers , Baby boomers v Everyone, (!) Republicans V Democrats…. when we run interference on the tribal bollocks and decide to take a punt on what we have in common rather than the seemingly gouged in tattoos of tribal difference, sometimes our bravery is rewarded in magical ways.
Now there’s a vaguely useful thought for 2020.
