Part of America’s Musical Landscape

“I guess I wrote it because there was a part of myself that I was looking for. Maybe now that I feel more comfortable with the way that I live my life and my mental state (laughs) and my spiritual state whatever, maybe I feel there’s some kind of unity now. That song for me always exemplified kind of how you feel when you’re young, when you know that there’s a piece of yourself that you haven’t really put together yet. You have this great searching, this great need to find out who you really are.”

David Bowie
BBC Radio 1 special programme ChangesNowBowie, broadcast on 8 January 1997

 
 

David Bowie poses in front of US flag for a portrait by Michael Ochs, 1976

 
 

In his journals, Kurt Cobain of the American grunge band Nirvana ranked the album The Man Who Sold the World at number 45 in his top 50 favourite albums. A live rendition of the song was recorded by the band in 1993 during their MTV Unplugged appearance, and it was released on their MTV Unplugged in New York album the following year. The song was also released as a promotional single for the album, and received considerable airplay on alternative rock radio stations. It was also thrown into heavy rotation on music video stations such as MTV. Nirvana regularly covered the song during live sets after their memorable acoustic performance up until lead singer Cobain’s death in 1994. In 2002 the song was re-released on Nirvana’s “best of” compilation album Nirvana.

Bowie said of Nirvana’s cover: “I was simply blown away when I found that Kurt Cobain liked my work, and have always wanted to talk to him about his reasons for covering The Man Who Sold the World” and that “it was a good straight forward rendition and sounded somehow very honest. It would have been nice to have worked with him, but just talking with him would have been real cool”. Bowie called Nirvana’s cover “heartfelt,” noting that “until this [cover], it hadn’t occurred to me that I was part of America’s musical landscape. I always felt my weight in Europe, but not [in the US].” In the wake of its release, Bowie bemoaned the fact that when he performed the number himself he would encounter “kids that come up afterwards and say, ‘It’s cool you’re doing a Nirvana song.’ And I think, ‘Fuck you, you little tosser!'”

The song’s title is similar to that of Robert A. Heinlein‘s 1949 science fiction novella The Man Who Sold the Moon, with which Bowie was familiar. However, the song has no similarities to the story in the book. In common with a number of tracks on the album, the song’s themes have been compared to the horror-fantasy works of H. P. Lovecraft. The persona in the song has an encounter with a kind of doppelgänger, as suggested in the second chorus where “I never lost control” is replaced with “We never lost control”. Beyond this, the episode is unexplained: as James E. Perone wrote:

Bowie encounters the title character, but it is not clear just what the phrase means, or exactly who this man is. … The main thing that the song does is to paint – however elusively – the title character as another example of the societal outcasts who populate the album.

 
 

To watch Nirvana’s performance, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

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Must Be Santa

Mick Jagger

 
 

John Lennon and Yoko Ono

 
 

Jimi Hendrix

 
 

Kurt Cobain and Chris Novaselic

 
 

Alice Cooper

 
 

Iggy Pop. Galleries Lafayette ad campaign

 
 

Ronnie Vannucci Jr.

 
 

Brandon Flowers

 
 

Bruce Springsteen and Clarence Clemons

 
 

Flea

 
 

Bette Midler

 
 

Katy Perry

 
 

Cee Lo Green

 
 

Mariah Carey

 
 

Destiny’s Child

 
 

Elvis Presley

 
 

Bono

 
 

Ian Anderson (lead vocalist of Jethro Tull)

 
 

Bob Dylan. Must Be Santa (Nash Edgerton, 2009)

 
 

Based on a German drinking song, Must Be Santa is structured as a call and response, with the lead singer posing the question of who has a certain feature, with a chorus responding that Santa Claus has said feature. After every other verse, the list of features mentioned up to that point is reiterated, followed by the chorus of “must be Santa” repeated three times and ending with “Santa Claus.”

In November 2009, Bob Dylan covered Brave Combo‘s version of the song in a polka style for his Christmas album, Christmas in the Heart. The New York Daily News described Dylan’s version as such: “It’s sort of unclear if Dylan (…) was aiming to celebrate the holiday, or gently poke fun at the music’s Norman Rockwell-esque simplicity.”