Changes

So let’s return to the main focus of the book. Doggett offers several penetrating insights into each new development of the years when Bowie was rewriting the rule book, forging new directions all the time. His looking at each song in remarkable detail includes the early material recorded in the mid-1960s, although all but the most musically-minded readers may want to skim some passages. Take these comments on ‘The Man Who Sold the World’, for example: ''a compact, elegantly assembled piece that featured none of the metallic theatrics found elsewhere on the album....the chord structure was equally treacherous, repeatedly augmenting its key of F with an A major chord borrowed from the relative minor scale of Dm.'' Unless the reader is undertaking a thesis for a university degree or something similar, it is debatable as to whether a rock song really needs such minute analysis.

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