Today, it would probably fall under the tribute to the swingin’ 60s; but in 1973, Pin Ups, David Bowie’s extemporary covers album, was looked upon as an odd, yet daring move. Bowie was just beginning to come into his own, having unearthed his alter ego as the androgynous Ziggy Stardust. Likewise, the Spiders From Mars — Bowie’s high-charged backing band — was amassing praise for its rapid-fire delivery. It seemed out of the ordinary for the rising star to suddenly come up with a collection, jam-packed with other people’s songs. Maybe it was intended to demonstrate how diverse Bowie and his band were. But, in fact, it was something else altogether: A signpost pointing the Thin White Duke in a new direction.
By their very nature, cover albums can deliver devastating blows to certain artists’ careers. Examples include John Lennon’s emphatic, half-hearted Rock N’ Roll album and Guns ‘N’ Roses’ mind-bogglingly lowbrow Spaghetti Incident. On the other hand, Bowie’s tribute to mid-60s British rock is conveyed with a great deal of loving care. But it came with a price. Pin Ups was the final album Bowie would ever record with guitarist Mick Ronson and producer Ken Scott. With Ziggy more or less buried the year before, and Bowie pushing forward with the post-apocalyptic Diamond Dogs — itself a transitional album of sorts — Pin Ups could be interpreted as a quick nod and wink to the singer’s influences before moving on to other creative ventures.
Nevertheless, Pin Ups is first and foremost about the music — a diverse selection of England’s most treasured gems. “Rosalyn,” a Pretty Things single, is a cool reminder of how well Ronson could make his axe swing and sway. Them’s “Here Comes The Night” draws smooth treatment and Pink Floyd’s “See Emily Play” receives a gaudy shakedown. The covers of the Who’s “Anyway, Anyhow, Anywhere,” the Yardbirds’ “Shapes Of Things,” and the Kinks “Where Have All The Good Times Gone” are all pretty faithful, and consequently unremarkable. Ever the iconoclast, Bowie’s takes on the Merseys’ “Sorrow” and the Easybeats’ “Friday On My Mind” prove to be far more engaging. Despite its disparities, Pin Ups made quite a splash on the U.K charts, ands remains an essential component of the David Bowie catalog.
~ Shawn Perry
