He’d like to come and meet us / But he thinks he’ll blow our mind

New Zealand’s fiery six­ties icon, Sandy Edmonds, on a just dis­cov­ered OZ TV show clip from 1966, doing Bob­by Heb­b’s Sunny.

To check what she was real­ly capa­ble of, check this garage stormer.

At the top of her game, she dis­ap­peared with­out trace at the end of the six­ties, and nobody seemed to know where or what she’d become. The ear­ly days of the inter­net even fea­tured a ‘Where’s Sandy’ site. It was­n’t until the mid-2000s that the mys­tery was large­ly solved: she was a design­er in Mel­bourne, Ros­alie Edmondson-Corner.

Gra­ham Reid details the jour­ney here.


And they were vague­ly con­tem­po­raries, but on the oth­er side of the plan­et and a galaxy apart, how­ev­er, I would feel remiss if I did­n’t men­tion Zig­gy’s 65th year yes­ter­day. There are dozens/hundreds of sites cov­er­ing it and there is lit­tle more I can add, aside from humbly point­ing out that the old bug­ger changed my world for­ev­er. And he changed yours even if you don’t know it.

My first seri­ous date was to a school ball in 1973. My girl­friend at the time, the late and missed Jane Wil­son, had an Aladdin Sane stripe on her face. When we formed punk bands, Bowie was the con­duit that almost every­thing that ini­tial­ly inspired us — Iggy, Lou and the Dolls — was fun­nelled via.

This was a man who in 12 months cre­at­ed, co-cre­at­ed Zig­gy Star­dust, Aladdin Sane, Raw Pow­er and Trans­former. He then took a brief breather before invent­ing post-Apoc­a­lyp­tic rock, for bet­ter or worse, Plas­tic Soul, and offer­ing up an inven­tive rework­ing of Krautrock with Eno that helped define the post-punk land­scape prob­a­bly more than any oth­er artist, and thus the audio land­scape we live in now.

Every sin­gle album he released or worked on between 1971 (we can for­give most of the two albums called sim­ply David Bowie, from 1967 and 1969, although Lon­don Boys from the first is a fab­u­lous point­er towards the future) and his last major work before a 90s reju­ve­na­tion, Scary Mon­sters, was a land­mark that, as only The Bea­t­les in rock his­to­ry have also done, changed the way every­thing of inter­est was done thereafter.

So hap­py birth­day, David.

65, fuck­ing hell, do I feel real­ly old…

A cou­ple Three vids. The first is a sim­ply won­der­ful live ver­sion of Paul Simon’s Amer­i­ca, done in the afore­said Lon­don Boys style, from Paul McCart­ney’s post 9/11 gig. 1

And, from the last album, Reality:

And final­ly a 2002 remake of Lon­don Boys from the unre­leased Toy album:

Edit: one more I’d not seen before, the unbleached orig­i­nal of Life on Mars. This was a hit a cou­ple of years after it was first released, on Hunky Dory, hence the post Zig­gy look and imagery on a song that was record­ed before Bowie had rein­vent­ed him­self as the doomed glam icon.

Show 1 footnote

  1. Which inci­den­tal­ly can be found in part in the huge­ly rec­om­mend­ed Love We Make doco direct­ed by the leg­endary (think Sales­man and the killer B&W ver­ité footage in The Bea­t­les First US Vis­it) Albert Maysles. The DVD allows you to fast for­ward the awful Jag­ger and Bon Jovi live bits, plus the finalé. I’d also not realised how lit­tle taste Stel­la McCart­ney has: she looks like Posh Spice and likes Bon Jovi.

1 Comment

Join the discussion and tell us your opinion.

January 16, 2012 at 7:56 am

Noth­ing wrong with the 1969 album, if you’re not total­ly averse to hip­pie music. It’s a lot bet­ter than most LPs that came out that year.

As for the ’67 record… Sure, it’s gen­er­al­ly hat­ed because of the overt New­ley­ism, and the fact that it does­n’t rock, but it’s not sup­posed to; it’s a pop record.

Also, I’ve nev­er seen any­one recog­nise that it’s a con­cept album; in sub­ject mat­ter it’s not a mil­lion miles away from “Tom­my” and “Arthur”, but two years earlier.


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