10 Greatest Album Closers Of All Time
4. Rock n Roll Suicide - David Bowie (The Rise And Fall Of Ziggy Stardust & The Spiders From Mars, 1972)
http://www.youtube.com/watch?v=9jg4ekLG9ZoThe frenzy that David Bowies shock return incited at the beginning of this year proves that the aging rock messiah is still adored the world over and will never be deserted by his devoted disciples. Why am I using religious language in my appraisal of the Thin White Duke? Simply because Bowies 1972 record is most definitely a Jesus Christ parable. Why am I, as a writer, discussing my word choices and breaking the fourth wall? Because Ziggy also has a clever self-reflexivity that draws attention to its own artifice.
The star of the ultimate concept album, a credential offered because it doesnt abandon its particular concept after only two songs (*cough* Sgt. Pepper *cough*), Bowies alien alter-ego, in all of his well-hung and snow-white tan glory, was an inspired combination of all of rocks famed icons. A mix of Lou Reeds cool, Syd Barretts unhinged persona, Jimi Hendrixs machismo and second-rate British rockabilly, Vince Taylors, frightening belief in his own genius, the existence of Ziggy is a comment on the perils of rock superstardom, the over-massaging of the ego and the indulgence of the id. Somewhat scarily, Bowie threw himself into this character so effectively whilst crafting these songs and touring the album that in doing so, he became a self-actualised star in the process and let the fame and drugs overwhelm him, morphing into his own creation.
Beginning with the apocalypse-tinged Five Years, the album journeys through Ziggys Christ-like appearance on Earth to save humanity from bringing about its own doom before reaching an epic climax on the records title track as our hero is torn apart by excess, band-mates and crazed fans. Ziggys mission, like Jesus, sees him earn as many enemies as followers, and he is destroyed by his own, and humanitys, basest vices; jealousy, profligacy, envy, brutality and self-abuse.
Rock n Roll Suicide, the albums most slow-burning selection, finally ushers in some calm after the glam rock storm enacted by Mick Ronsons flamboyant guitar licks, Trevor Bolders pulsating bass lines and Woody Woodmanseys dexterous drums. A strip-backed vocal take from Bowie gifts the closer a more sobering feel in contrast to the hedonistic flamboyance of Ziggys rock n roll dream, as he picks apart the savage nature of hero worship and idolatry, how fame can engorge and decimate the self.
Climaxing with evocative strings that imbue the song with a movie-like feel (in a similar vein to Life On Mars), Rock n Roll Suicide is the conclusion to a cautionary tale, finishing the story of a man who played guitar... but made it too far, and commenting on the inevitably of time and the fragility of the human soul. Tear-inducing but also awe-inspiring, the track finishes with a repeated call to gimme your hands which connotes togetherness and unity, or in a more sinister manner, the horrific image of a body torn apart by obsession and excess.