Дэвид Боуи – "Stay" туралы мәліметтер

1976 song by David Bowie

"Stay" is a song by the English musician David Bowie, released on his 1976 album Station to Station. The song was recorded in late 1975 at Cherokee Studios in Los Angeles. Co produced by Bowie and Harry Maslin, the recording featured guitarists Carlos Alomar and Earl Slick, bassist George Murray, drummer Dennis Davis, pianist Roy Bittan and Warren Peace on percussion. The track features prominent dual guitar work from Slick and Alomar, who mostly composed it in the studio. Based on the chord structure of "John, I'm Only Dancing (Again)", a funk reworking of "John, I'm Only Dancing" (1972), "Stay" emulates funk rock, soul and hard rock. The song's lyrics are abstract and relate to love. Bowie debuted the song on the variety show Dinah! on 3 January 1976. In July the same year, RCA Records released "Stay" as the B side of "Suffragette City" and again as an A side in edited form in the United States; both failed to chart. The track has received positive reviews from music critics and biographers, with many praising the performance of the band. "Stay" was a live staple throughout Bowie's concert tours, performances of which have appeared on numerous live albums. The song was remixed by Maslin in 2010 for reissues of Station to Station and remastered in 2016 for the Who Can I Be Now? (1974–1976) box set. Bowie recorded a new version of "Stay" in 1997 during the rehearsals for the Earthling Tour, which appeared on the 2020 EP Is It Any Wonder? as "Stay '97".

After completing his work on The Man Who Fell to Earth in September 1975, David Bowie returned to Los Angeles to begin recording his next album. Personnel wise, Bowie brought back the same team used for "Fame": co producer Harry Maslin, guitarists Carlos Alomar and Earl Slick, drummer Dennis Davis and Bowie's old friend Geoff MacCormick (credited as Warren Peace), while bassist George Murray was recruited to play bass; pianist Roy Bittan, a member of Bruce Springsteen's E Street Band, joined the sessions in mid October. For the studio, Bowie and Maslin chose Los Angeles's Cherokee Studios, which featured five different studio rooms, 24 track mixing consoles, 24 hour session times, and a lounge bar. Recording for the new album began in late September 1975 and ended in late November. According to biographer Chris O'Leary, recording for "Stay" began sometime in October. Like the majority of the album, the song's elements were primarily built in the studio rather than written before. Due to Bowie's heavy cocaine use during the sessions, he later recalled remembering almost nothing of the album's production. Alomar recalled the song was recorded "very much in a cocaine frenzy":
'Stay' was basically done with the rhythm section. It was pretty funky and pretty much straight ahead. I wrote out a chart and said this was pretty much what we wanted to do. That song I think David did on the guitar. He strummed a few chords for me, and then we gave it back to him. The rhythm section really liked that one, and then Earl Slick covered some of the lines I had laid down with a thicker sound. Bowie later acknowledged that the song initially began as an attempt at "John, I'm Only Dancing (Again)", a funk reworking of Bowie's 1972 track "John, I'm Only Dancing" that was recorded during the sessions for Young Americans (1975) and later released as a single in 1979. Alomar and Slick experimented with a slightly varied "(Again)" chord progression, sped up the tempo and, after days or weeks of studio jamming, the band, in Alomar's words, "gave [the song] back to [Bowie]." According to O'Leary, Bowie pitted Alomar and Slick against each other, repeating what he did on the latter half of the Diamond Dogs Tour (known as the Soul tour). Slick recalled in 2014: "He had polar opposites, and he allowed those differences to shape the guitar sound on the album." On "Stay", Slick recorded a solo, which Alomar then overdubbed, repeating the process. O'Leary calls the final mix "the record of their war, underpinned by a George Murray bassline that could support a Buick".

The musical style of both "Stay" and "Golden Years" are built upon the funk and soul of Young Americans but with a harsher, grinding edge. Biographer Nicholas Pegg describes it as a simultaneous hybrid of funk, soul and hard rock, while James E. Perone argues that "Stay" represents a merge of hard rock and blue eyed funk. Author Marc Spitz analyses "Stay" as "urban funk sped up for against the wall fucking, as opposed to the horizontal quiet storms of Young Americans". Writing for AllMusic, Ned Raggett found a combination of the "dramatic rock" of Diamond Dogs (1974) and the "funk and soul" of Young Americans. He writes that compared to tracks like "Young Americans", "Stay" contains a "chiller" arrangement, which he believes "manages to sound like something that could easily fit into a 1976 era nightclub though still somehow standing apart from it". In 2010, Frank Mojica of Consequence of Sound classified the song as funk rock. The song begins with the band assembling itself. Slick starts on guitar on his D string—mixed right and echoed left—before oppressing two G9 chords. Author Peter Doggett describes an "effortless self confidence" in Slick's introduction. From there, bass and drums join, followed by percussion and keyboards. The instruments play off one another until settling into a restless groove. O'Leary writes that in the intro, Slick is playing lead and Alomar supports but, by the verses and refrains, the roles are swapped: Alomar's rhythm guitar paces the track while Slick echoes it. In the closing solo, the two duel ferociously, with Slick playing variations of his opening riff and Alomar working around that. Bowie, whose vocals are absent past the four minute mark, matched the guitars in the refrains with what O'Leary calls a "low sung 'voice of reason. Spitz interprets Station to Station as "an album of love songs", specifically "the kind you write when you have no love in your own life". The abstract Pegg calls the song "one of Bowie's classic [musical] hybrids" and finds the rhythm guitar riff one of the finest in Bowie's entire catalogue. Mojica and Raggett similarly praise the guitar work as one of Bowie's best, In a 2016 list ranking every Bowie single from worst to best, Ultimate Classic Rock placed "Stay" at number 51, calling the single edit inferior to the album version.

"Stay" remained a concert staple throughout Bowie's career, being performed on the 1976 Isolar I, 1978 Isolar II, 1983 Serious Moonlight, 1990 Sound+Vision, 1997 Earthling, 1999 Hours, 2000 Mini, and 2002 Heathen tours. Due to the song's extended outro, Bowie added bursts of "stay" tags throughout during live performances, including "stay—why don't you" tags with Gail Ann Dorsey in the 1990s. O'Leary notes that Bowie sometimes simply stared at the players in bemusement. A recording from the Isolar tour at the Nassau Coliseum on 23 March 1976 was first released as a bonus track on the 1991 Rykodisc reissue of Station to Station, and again in remixed form on Live Nassau Coliseum '76 (2010). A performance from the Isolar II tour was included on the expanded reissues of the 1978 live album Stage in 2005 and 2017. Another performance from the same tour was later included on Welcome to the Blackout (2018). Bowie's performance of the song at the Glastonbury Festival on 25 June 2000 was released in 2018 on Glastonbury 2000. A couple days after Glastonbury on 27 June, Bowie performed "Stay" at the BBC Radio Theatre in London. This performance was released on the bonus disc accompanying the first releases of Bowie at the Beeb (2000). The single edit of "Stay" appeared on the Christiane F. soundtrack in 1981. According to Pegg, this is one of the few CD sources for the single edit. The song, and its parent album, was remastered in 2016 for the Who Can I Be Now? (1974–1976) box set, with a standalone album release the following year. Both the original mix and 2010 Maslin mix were included, while the single edit was included on Re:Call 2, part of that set. Bowie rerecorded "Stay" in 1997 during the rehearsals for the Earthling Tour. Bowie wanted to update some of his live staples to better fit the material of his then recent albums Outside (1995) and Earthling (1997). The new version was rehearsed at The Factory in Dublin with Mark Plati and Reeves Gabrels before it was properly recorded at New York's Right Track Recordings between May and June 1997. Initially intended for release as a B side, it remained unreleased until 2020, when it was included on the EP Is It Any Wonder?, titled "Stay '97". Jon Blistein of Rolling Stone described it as "an extremely nineties update" of the original, describing elements of alternative rock, gothic rock, industrial rock and techno.