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A soaring vocal with a few condor cries (the ninth-spanning “slooooooow BURRRRRN!

Offering an intro hook by answering a long-sustained chord with strings of bent, distorted notes, Townshend reappears after the first refrain for a run of sirens and shockwaves and then hangs on through the second verse, playing the same choppy chord as a counter-rhythm; it’s as if he’s itching to cut Bowie short, that he fears being caught up in the endless cycle as well.

Another curious thing was that Bowie quickly stopped performing “Slow Burn” live.

He sang it only twice, its last performance at the Meltdown Festival in June.

(Photo by Frank Micelotta/Getty Images) " data-medium-file="https://bowiesongs.files.wordpress.com/2014/08/16madison6.jpg? w=300" data-large-file="https://bowiesongs.files.wordpress.com/2014/08/16madison6.jpg? w=450&h=300 450w, https://bowiesongs.files.wordpress.com/2014/08/16madison6.jpg? w=150&h=100 150w, https://bowiesongs.files.wordpress.com/2014/08/16madison6.jpg? w=300&h=200 300w, https://bowiesongs.files.wordpress.com/2014/08/16madison6670w" sizes="(max-width: 450px) 100vw, 450px" / Townshend’s been one of this blog’s minor supporting characters, partly because the blog came close to being a Townshend song-by-song survey: he was the other top contender (if I’d gone with PT, the blog would’ve been called ).

So I found it fun to use Townshend as an ongoing check on the Bowie experiment.

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