Hours, packaged as Bowie’s R&B album, went equally deep. Seven, Survive, and Thursday’s Child felt like Babyface and Toni Braxton doing Young Americans. The major flaw of these records, one that many listeners understandably found (and still find) impossible to get past, was the butt-ugly guitar sound of Tin Machine leftover Reeves Gabrels, which was even more irritating than the techno effects. It would have been great to hear Bowie redo these songs with a better band and better production. I played them a lot anyway.
Hours, packaged as Bowie’s R&B album, went equally deep. Seven, Survive, and Thursday’s Child felt like Babyface and Toni Braxton doing Young Americans. The major flaw of these records, one that many listeners understandably found (and still find) impossible to get past, was the butt-ugly guitar sound of Tin Machine leftover Reeves Gabrels, which was even more irritating than the techno effects. It would have been great to hear Bowie redo these songs with a better band and better production. I played them a lot anyway.
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