Recorded during the second half of his ambitious two-hour-plus Modern Love tour, captured on the second of two nights at Montreal’s Forum, this power set flows like a David Bowie Greatest Hits album. Featuring one of the best bands Bowie ever assembled for a tour (the horn section is from Tower of Power; drummer Tony Thompson was in both Chic and Power Station; and Earl Slick was Bowie’s Diamond Dogs-era axeman), it is simply one killer Bowie classic after another.
After releasing several strange, uneven albums recorded during his heavy drug days in Berlin with…entire summary
David Bowie - vocals, guitar
David LeBott - keyboards
Lenny Pickett - saxophone
Stan Harrison - baritone sax
Steve Elson - tenor sax
Carlos Alomar - guitar
Earl Slick - lead guitar
Carmen Rojas - bass
Tony Thompson - drums
Joyce and Kevin Simms - backing vocals
Recorded during the second half of his ambitious two-hour-plus Modern Love tour, captured on the second of two nights at Montreal’s Forum, this power set flows like a David Bowie Greatest Hits album. Featuring one of the best bands Bowie ever assembled for a tour (the horn section is from Tower of Power; drummer Tony Thompson was in both Chic and Power Station; and Earl Slick was Bowie’s Diamond Dogs-era axeman), it is simply one killer Bowie classic after another.
After releasing several strange, uneven albums recorded during his heavy drug days in Berlin with Brian Eno, Bowie returned with Let’s Dance, one his best and most commercially successful albums. He had changed his sound once again, and certainly his look, following the lead of fellow Brit Robert Palmer, by wearing tailored three piece suits. Bowie has always appreciated his touring bands, but with this one he interacts to the point where they are not seen as a backing band for a superstar singer. They are a collective force. The synergy in the show is that good.
This show reflects a happier, healthier (and drug free) David Bowie, commanding a brilliant band through a collection of astounding material. Everything during this set is hot, but there are standouts, including “Station To Station,” “Cat People (Putting Out Fire),” “TVC 15,” “Fame,” (which has a great Tower of Power horn arrangement), a balls-out version of “Jean Genie,” and a rockin’ yet slowed down cover of the Who’s “I Can’t Explain” which runs into “Modern Love,” which closes the night’s performance.
Originally aired on the King Biscuit Flower Hour, this was one of several nights captured for a single 1983 broadcast. The Biscuit often recorded several nights of the same tour to compile a selection of tracks to assemble into one flawless show. With this, there was no fixing or editing needed. In short, this show is crucial listening for any rock music fan.
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