24 Drive-In Saturday
From Aladdin Sane (April 1973); released as a single, April 1973
Highest UK chart position: 3
Bowie’s sci-fi take on American Graffiti, imagining future teens boning up on romance from old movies and pop songs…
MORRISSEY: I’ve covered the song, and even recorded a version last year in Omaha, Nebraska. It was a very strong song in its time, and a very clever song too. I prefer the Jobriath version, but nevertheless “Drive-In Saturday” was a fascinating piece of art at the time, infiltrating a very, very drab Top 30. Yes, Bowie’s a human vampire, but I’m grateful, very grateful, for some of the songs.
From Hunky Dory (December 1971)
Charmingly ramshackle and oddly touching British pop pastiche, dedicated to Bowie’s new-born son, Zowie (later Joey) Bowie
RUFUS WAINWRIGHT: I always loved this, and “Fame,” and “Heroes”. When I grew up David Bowie was still in the mainstream, in the prime of his career. But I got into it when I moved to New York and met a bunch of hip drag queens who wanted to sleep with straight rock boys. I have a very special relationship with David only because we share a guitar player in Gerry Leonard. He plays with David a lot, so David has come to a lot of my shows and always been very supportive, which is such an amazing honour.
I’ve talked a lot with Gerry about the insides of the workings of David’s mind – and it’s pretty amazing. I think the main thing I’ve realised is that he’s actually quite shy: there’s a real kind of Wizard Of Oz quality to him, by which I mean that behind the flamboyance, the fire and green lasers and stuff there’s this little guy there, working away in his attic. Really, he’s very, very sensitive about being an artist – trying to be in sync. He’s a very vulnerable, and very affected by the world around him, and by what people say. He’s not at all jaded.