Bowie & Metheny: The 'This Is Not America' Story

A Sonic Union: David Bowie and the Pat Metheny Group's "This Is Not America"

In the annals of 1980s music, certain collaborations stand out not just for their artistic merit but for the sheer unexpectedness of their union. One such remarkable partnership was between the incomparable David Bowie and the acclaimed jazz fusion ensemble, the Pat Metheny Group, resulting in the haunting and evocative track "This Is Not America." Released in February 1985, this song found its home on the soundtrack of the 1985 film The Falcon and the Snowman, a cinematic endeavour directed by John Schlesinger. The track itself became a significant hit, reaching number 14 in the United Kingdom and number 32 in the United States, cementing its place in music history.

The genesis of "This Is Not America" lies in a creative exchange between Metheny and Bowie, a process that was as technically intricate as it was artistically inspired. Pat Metheny had initially composed an instrumental piece for the film, titled "Chris," after the protagonist of the movie. The production company, however, felt that the track could benefit from lyrical content and, crucially, a vocal performance. This desire led them to approach David Bowie, a suggestion that Metheny readily accepted. "This Is Not America" was the beautiful outcome of this collaborative spirit, a fusion of Metheny's instrumental prowess and Bowie's unparalleled vocal and lyrical genius.

The Creative Crucible: Recording in Montreux

The recording sessions for "This Is Not America" were a testament to the era's burgeoning technological capabilities and the creative urgency of the artists involved. The process began with a direct journey from Geneva Airport to the studio in Montreux, where David Bowie was already present. Bowie, having been provided with Metheny's demo of "Chris," had not only penned poignant lyrics but had also ingeniously incorporated a Linn drum machine, laying down a vocal demo over Metheny's original composition. This initial demo was, by all accounts, exceptional, requiring little more than a direct transition into the main recording process.

The core instrumental "engine" of the track was driven by a distinctive Roland drum machine, a piece of equipment Metheny had previously utilised on a notable record. The early days of the Synclavier, a keyboard-based system that Metheny employed for the original demo, presented its own set of challenges. The technical intricacies of synchronising the various elements of the recording process likely consumed a significant portion of the time, almost as much as the actual musical performance itself. The meticulous arrangement, developed collaboratively with Bowie, involved replacing demo elements with new performances, including a subtle yet impactful half-step modulation in the song's middle section. The sheer dedication to detail is highlighted by the anecdote of a 12-string harmonic chord that Metheny wished to reverse. What would take mere seconds with modern software took three hours of rendering time back then, rendering the system unavailable for other tasks during this period. This intricate dance with technology, all within a tight two-day recording window, underscores the dedication and passion poured into the creation of "This Is Not America."

Bowie's Vocal Magic: The "Sha-la-la-la-la" Phenomenon

David Bowie's contribution to "This Is Not America" is, as expected, nothing short of extraordinary. His vocal performance is a masterclass in emotive delivery and imaginative arrangement. During the recording process, Bowie introduced the idea of incorporating background vocals into the "sha-la-la-la-la" sections of the song. When he inquired if any of the other musicians could provide these harmonies, the response was a collective negative. Unfazed, Bowie then proceeded to demonstrate his remarkable vocal layering capabilities. In a truly astonishing feat, he transformed into three distinct vocal personas, each singing a separate part, and remarkably, all of these were captured in flawless first takes. This singular ability to embody multiple vocal characters within a single track is a hallmark of Bowie's innovative approach to music production and a significant reason for the song's enduring appeal.

The Visual Narrative: A Film-Centric Music Video

In a move that further entwined the song with its cinematic origins, the music video for "This Is Not America" was constructed entirely from clips from the film The Falcon and the Snowman. Notably, David Bowie himself does not appear in the video. The editing, while seemingly random at first glance, possesses a disquieting quality, enhanced by evocative imagery such as shots of a hawk in flight and various other peculiar scenes from the movie. This deliberate choice to eschew a traditional performance-based music video lent the track an additional layer of mystery and artistic depth, leaving viewers with a sense of unease and a strong desire to experience the film itself.

Thematic Resonance and Lyrical Depth

The lyrics of "This Is Not America," penned by David Bowie, are deeply intertwined with the themes explored in The Falcon and the Snowman. The film, set in Mexico, tells the story of two estranged friends who become involved in a counterintelligence operation. The title of the song itself is derived from a line spoken by a character within the film, a phrase that resonated with both Bowie and Metheny for its inherent intrigue and potential for broader interpretation. Metheny himself praised Bowie's lyrics, describing them as "profound and meaningful—and absolutely perfect for the film." The song's exploration of identity, belonging, and perhaps a critique of the American dream, as suggested by the title, added a layer of intellectual and emotional complexity that transcended a typical movie soundtrack contribution.

Bowie's 80s Soundtrack Ventures

"This Is Not America" marked the beginning of a series of soundtrack projects for David Bowie in the mid-1980s. Having concluded his 1984 album Tonight and reportedly feeling dissatisfied with its outcome, Bowie embarked on a path that saw him contribute to the soundtracks of Labyrinth, Absolute Beginners, and When the Wind Blows, all released in 1986. This period of collaboration with Metheny was a significant stepping stone in this phase of his career, allowing him to experiment with different musical styles and creative partnerships.

Bowie and Metheny: A Unique Partnership

While David Bowie was no stranger to high-profile duets and collaborations during the 1980s, his work with the Pat Metheny Group on "This Is Not America" represented a particularly unique artistic undertaking. Although the song achieved considerable success and became part of Bowie's string of popular 80s hits, it was an unconventional collaboration for both artists. Metheny, renowned for his sophisticated jazz compositions and improvisational prowess, found himself navigating a more structured, pop-oriented arrangement. Bowie, on the other hand, demonstrated his chameleon-like ability to adapt his distinctive vocal style to a new musical landscape. Despite Metheny's jazz background, Bowie himself described the piece as "hardly a jazz piece," noting Metheny's straightforward rhythm guitar contribution, devoid of solos or improvisations. This creative synergy, bridging distinct musical worlds, resulted in a song that remains a powerful and memorable testament to the innovative spirit of both David Bowie and the Pat Metheny Group.

Frequently Asked Questions

Q1: What movie is the song "This Is Not America" by David Bowie from?

A1: "This Is Not America" is from the soundtrack of the 1985 film The Falcon and the Snowman.

Q5: Who wrote the lyrics for "This Is Not America"?

A5: David Bowie wrote the lyrics for the song.

The collaboration between David Bowie and the Pat Metheny Group on "This Is Not America" remains a compelling example of artistic synergy, bridging genres and creating a timeless piece of music that continues to resonate with audiences worldwide. The meticulous recording process, Bowie's innovative vocal arrangements, and the song's thematic connection to its cinematic source all contribute to its enduring legacy.

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