«Heroes» Дэвида Боуи: История создания и влияние

1977 song by David Bowie

"Heroes" is a song by the English musician David Bowie from his 12th studio album of the same name. Co written by Bowie and Brian Eno and co produced by Bowie and Tony Visconti, the song was recorded in mid 1977 at Hansa Studio 2 in West Berlin. The backing track was recorded fully before lyrics were written; Bowie and Eno added synthesiser overdubs while Robert Fripp contributed guitar. To record the vocal, Visconti devised a "multi latch" system, wherein three microphones were placed at different distances from Bowie and would open when he sang loud enough. Like other album tracks, he improvised lyrics while standing at the microphone. An art rock song that builds throughout its run time, Heroes concerns two lovers, one from East Berlin and the other from the West. Under constant fear of death, they dream they are free, swimming with dolphins. Bowie placed the title in quotation marks as an expression of irony on the otherwise romantic or triumphant words and music. Directly inspired by Bowie witnessing a kiss between Visconti and singer Antonia Maass next to the Berlin Wall, other inspirations included a painting by Otto Mueller and a short story by Alberto Denti di Pirajno. Released in edited form by RCA Records on 23 September 1977 as the album's lead single, initial reviews for the song were mostly positive, with some welcoming it as a classic addition to the artist's catalogue. Bowie heavily promoted the song with a music video and sang it on numerous television programmes, including Marc Bolan's Marc and Bing Crosby's Christmas special. Bowie also released German and French language versions of Heroes, titled Helden and Héros, respectively. Despite its large promotion, the song only peaked at number 24 on the UK Singles Chart and failed to chart at all on the US Billboard Hot 100, but reached the top 20 in multiple European countries and Australia. Over time, the song has grown substantially in reputation and is considered by many to be one of Bowie's finest songs, as well as one of the greatest songs of all time. His biographers pan the single edit for diminishing the song's power. Following Bowie's death in 2016, the song reached a new peak of number 12 in the UK. The song remained a staple throughout his concert tours and live performances and is Bowie's second most covered song after "Rebel Rebel" (1974). A version of Heroes by the Wallflowers was positively received and charted in the US and Canada in 1998. Another version by the finalists of The X Factor was a UK number one in 2010. The song has also been used predominantly in advertising over the years and has appeared in several television series and films.

After completing his work co producing Iggy Pop's Lust for Life (1977) and various promotional events, David Bowie spent a few weeks devising ideas and concepts with multi instrumentalist Brian Eno for his next studio album. One idea was using the same G–D chord sequence he had used for Pop's "Success". Eno wanted to call it "Heroes", as the sequence "sounded grand and heroic", and "I had that very word – heroes – in my mind." According to biographer Chris O'Leary, the word also paid reference to German krautrock band Neu! 's "Hero" (1975). Recording for the album took place entirely in West Berlin between July and August 1977 at Hansa Studio 2, a former concert hall converted into a recording studio that had been used by Gestapo officers during World War II as a ballroom and was located about 500 yards from the Berlin Wall. The song was co produced by Bowie and Tony Visconti, with contributions from Eno. The backing track began with Bowie on piano and, returning from Station to Station (1976), the core band of Carlos Alomar on rhythm guitar, George Murray on bass and Dennis Davis on drums. Although he had fed Davis's drums through his Eventide H910 Harmonizer on Low (1977), Visconti used it sparingly on "Heroes", only during the mixing stage, and as such, the drum sound is mostly atmospheric to the room. He ran Murray's bass through a flanger. According to Visconti, the recording sat for a week before overdubs commenced. Eno brought in his EMS Synthi AKS, a synthesiser built in a briefcase, using its joystick, oscillator knobs and noise filter to create a "shuddering, chattering effect [that] slowly builds up and gets more and more obvious towards the end". and contains five verses, some longer than others, and an outro. Primarily in D major, the verses move from D to G major, along with C major on "nothing will keep us together" and a foray into A minor and E minor on "beat them" and "forever". The song is mainly in the D mixolydian mode, wherein the A major dominant chord is replaced with A minor, swapping from the parallel minor D minor back to the tonic D major. Richard Buskin of Sound on Sound described the song as a "highly experimental piece of art rock". The first verse is from the point of view of the man who stresses unity, while the second describes the couple's explicit love and affection for each other. Perone contends that the instrumental passages separating the third verse, wherein the narrator wishes his lover could "swim like the dolphins", represents a transition in the story. The fourth verse is a reiteration of the first, albeit Bowie sings an octave higher and in a near scream. In the fifth and final verse, the narrator recalls standing and kissing by the Wall while guards fired bullets above their heads. Perone states that this moment captures the sense the narrator's love can "overcome anything" and, as dolphins can freely swim as they wish, the proclamation that "we can be heroes" "gets well beyond anything the listener might have anticipated at the start of the piece". Nicholas Pegg and Thomas Jerome Seabrook argue that Heroes is not the "feelgood anthem" it is often interpreted as. According to Bowie, the quotation marks in the title were intended to express "a dimension of irony" on the otherwise romantic or triumphant words and music. Describing the song, he stated it is about "facing reality and standing up to it", about achieving "a sense of compassion" and "deriving some joy from the very simple pleasure of being alive". Likewise, Pegg contests the song contains underlying dark themes that juxtapose its uplifting chord sequence and delirious vocal, such as "you can be mean, and I'll drink all the time", which is "hardly the most promisingly heroic statement", while the repeated announcement of "nothing will keep us together" asserts that time is short. Additionally, the pronouncement that the narrator wants the relationship to last "just for one day" harkens back to the dark lyrics of "The Bewlay Brothers" (1971) and represents a shift from the Nietzschean "supermen" themes of Bowie's earlier works into the realm of heroism. Regarding the themes, Lurie stated: following Bolan's death from a car accident on 16 September. This particular version, released as a 7" picture disc on 22 September 2017, He sang the song again on the Dutch programme TopPop and the Italian programmes Odeon and L'altra domenica later the same month. RCA issued Heroes in edited form as the lead single from the album on 23 September 1977, with the catalogue PB 11121 and backed by album track "V 2 Schneider". Its shortened 3:32 edit was made in the hopes of more airplay. A 12" promotional single, containing both the single and album versions, was released in the US by RCA (as JD 11151) the same year. On the "Heroes" album, issued on 14 October, the song was sequenced as the third track, between "Joe the Lion" and "Sons of the Silent Age". The song's promotional music video was directed by Stanley Dorfman. Shot in Paris, it features numerous shots of Bowie in a dark room against a backdrop of white light and wearing the same bomber jacket he wore on the "Heroes" cover artwork. Pegg believes the final result is similar to Liza Minnelli's performance of "Maybe This Time" in the Berlin based 1972 film Cabaret. In a stunt Pegg describes as confirming the artist's "newfound European allegiances", Bowie recorded special vocals for the track in both German and French, with lyrics translated by Maass for the German release. These singles, titled Helden and Héros, respectively, were issued in their respective countries in September. Additionally, for the album releases in Germany and France, the special vocals were grafted onto the full length tracks, following the opening English verses. The single's release in a variety of languages and lengths achieved what NME editors Roy Carr and Charles Shaar Murray called "a collector's wet dream". Despite a large promotional push, Heroes only reached number 24 on the UK Singles Chart, remaining on the chart for eight weeks, and failing to chart at all on the US Billboard Hot 100, albeit reaching a low number 126 on Record World Singles Chart 101–150. Austria (19), Changesbowie (1990), The Singles Collection (1993), The Best of David Bowie 1974/1979 (1998), Best of Bowie (2002), The Platinum Collection (2006), Nothing Has Changed (2014), and Bowie Legacy (2016). The full album track was remastered with its parent album for inclusion on the 2017 box set A New Career in a New Town (1977–1982). The single edit was included on Re:Call 3, part of that box set, while the German single, French single, English German full length, and English French full length versions were included on an EP in the same set. Additionally, the English German version of the song appeared on the soundtrack to the film Christiane F. (1981) and on the Rare album in 1982, while the German single version appeared on Sound + Vision (1989).

Initial reviews for Heroes were mostly positive. Like Low "Sound and Vision", some viewed it as the album's most commercial track. Kris Needs of ZigZag magazine also considered the song a "monster" track with its end result being "magic". Ira Robbins went further in Crawdaddy magazine, hailing the song as Bowie's best commitment to plastic in three years, praising the instrumentation and vocal performance, and highlighted Eno's contributions among the track's best features. In the Los Angeles Times, Robert Hilburn wrote that despite the dreariness of "Heroes" as a whole, the title track contains "compassion and some fleeting hope". A reviewer for Billboard deemed the song one of the album's best tracks. Writing in Hit Parader, American musician and author Patti Smith praised Heroes as a "pure" and "wonderful" track that "exposes us to our most precious and private dilemma". She predicted that it would become the "theme song for every great movie" and would be "made remade or yet to come". Charlie Gillett gave the single a mixed review in the NME, saying: "Well he had a pretty good run for our money, for a guy who was no singer. But I think his time has been and gone, and this just sounds weary. Then again, maybe the ponderous heavy riff will be absorbed on the radio, and the monotonous feel may just be hypnotic enough to drag people into buying it. I hope not." The magazine placed it at number six in their list of the year's best singles.

Heroes has greatly grown in stature in the decades following its release. Pegg and O'Leary note that it was not until Bowie's performance of the song at Live Aid in 1985 did it become recognised as a classic. Buckley describes this rendition as "the best version of 'Heroes' [Bowie] had ever sung". Reviewing the song for AllMusic, Ned Raggett described it as arguably Bowie's finest song and a "true classic", writing that with Eno, Fripp and Visconti, Bowie crafted an anthem embellished with German influences while still using the "dramatic power" of rock and roll. Analysing his vocal, he wrote: "Starting with an almost conversational tone, by the end of the song he's turning in a performance that could almost be called operatic, yet still achingly, passionately human." Pitchfork Ryan Dombal described Heroes as "an immortal track all about fleeting wonders", while Ultimate Classic Rock Allison Rapp found that over time, the track become "one of rock's most loved anthems of hope". In a list ranking every Bowie single from worst to best, the same publication placed it at number one. In Consequence of Sound, Lior Phillips stated that the track "expertly captures the hopeless reality that nothing lasts and that we all must die — and also the inherent beauty in the fact that we all live and love in our time despite that fact". while Depeche Mode's lead singer Dave Gahan was hired into the band when founder Vince Clarke heard him singing it at a jam session. Like critics, Bowie's biographers praise Heroes as a classic and one of Bowie's best tracks, with author Paul Trynka calling it "his simplest, most affecting and most memorable song". Buckley acknowledges it as Bowie's "most universally admired song" and in 2015, wrote that the song "is perhaps pop's definitive statement of the potential triumph of the human spirit over adversity". O'Leary states that the song is "Bowie at his most empathic and desperate; a wish chant that offers a tiny regency for the spirit". Despite this, biographers mostly pan the shortened single edit for diminishing the song's power. O'Leary argues that the edit weakens the song as the buildup to the final verses is shortened, noting that Bowie's "heroic" vocal starts roughly two minutes earlier than the full album version. Perone agrees that the edit, which starts at the "dolphins" lyric, destroys the song's pacing, tension and impact, making it "not make as much sense". He expresses further criticism to shortening the single, as other highly successful singles of the rock era, such as the Beatles' "Hey Jude" (1968), were longer than the full length version of Heroes. Following Bowie's death in January 2016, Rolling Stone named Heroes one of the 30 most essential songs of Bowie's catalogue. Likewise, numerous publications have considered the song one of Bowie's finest, with NME, Uncut and Smooth Radio labelling it his greatest. Others including Consequence of Sound, Digital Spy and Mojo, named it his second best, behind "Life on Mars?" (1971). In 2018, the readers of NME voted the song Bowie's fourth best track. Meanwhile, The Guardian Alexis Petridis placed it at number five in a list ranking Bowie's 50 greatest songs in 2020. He recognised the track as a "weird, ambiguous song" with an "uplifting sporting montage soundtrack ubiquity" that turns six minutes of "pulsing electronic noise, howling guitars and screamed vocals" into "an all purpose air punching anthem".

In ensuing decades, Heroes has appeared on lists of the greatest songs of all time. In a list of the 100 greatest singles of all time, NME placed at number five. In a similar list, Uncut found it the 16th best single from the post punk era. In 2004, Rolling Stone rated Heroes number 46 in its list of the 500 Greatest Songs of All Time, and later moving the song up to number 23 on the 2021 list. NME placed it at number 15 in their similar 2015 list. Included by Time in their 2011 list of the "All Time 100 Songs", Pitchfork also included the song in The Pitchfork 500, a 2008 guide to the 500 greatest songs from punk to the present. In lists ranking the best songs of the 1970s, NME and Pitchfork listed the song at numbers four and six, respectively. The UK's Radio X also ranked it the 12th best song of all time in 2010, and the seventh best British song in 2016. In another list, John J. Miller of National Review rated it number 21 on a list of "the 50 greatest conservative rock songs".

Shortly after Bowie's death, the song charted in numerous countries around the world and was also streamed on Spotify more than any other Bowie song. In the UK, it reached a new peak of number 12. The song spent two weeks on Billboard Hot Rock & Alternative Songs chart in the US, peaking at number 11. Héros also peaked at number 37 in France in 2015.

Heroes remained a staple throughout Bowie's concert tours. He later acknowledged the song's impact on live audiences: "In Europe, it is one of the ones that seemed to have special resonance." During the 1978 Isolar II and 1983 Serious Moonlight tours, the song was usually the second number performed rather than among the shows' encores. Performances from the former have seen release on Stage (1978) and Welcome to the Blackout (2018), while some from the latter appeared on its 1984 concert video and later on Serious Moonlight (Live '83), released as part of the 2018 box set Loving the Alien (1983–1988), and separately the following year. Following Live Aid, Bowie revived Heroes for the 1987 Glass Spider Tour, as seen in its accompanying concert video (1988). The performance on 6 June 1987 at the German Reichstag in West Berlin has been considered a catalyst to the later fall of the Berlin Wall. The song made subsequent appearances during the 1990 Sound+Vision, 1996–97 Earthling, 2000, 2002 Heathen and 2003–04 A Reality tours. A performance from the A Reality Tour saw release on the accompanying DVD and live album, released in 2004 and 2010, respectively. Outside his tours, Heroes was performed at The Freddie Mercury Tribute Concert in 1992 by Bowie, his former guitarist Mick Ronson and the surviving members of Queen: Brian May, Roger Taylor, and John Deacon. Bowie played a semi acoustic version at the 1996 Bridge School benefit concerts; the 20 October rendition later saw release on The Bridge School Concerts Vol. 1 album and The Bridge School Concerts 25th Anniversary Edition DVD. The song was also sung at his 50th birthday concert in January 1997, at the Glastonbury Festival in June 2000, which was released in 2018 on Glastonbury 2000, and a performance 2 days later at the BBC Radio Theatre which went unreleased until 2021's Brilliant Adventure (1992–2001). The song was again performed in 2001 at the Tibet House Benefit concert and the Concert for New York City.

Heroes is cited by Pegg as Bowie's most covered song after "Rebel Rebel" (1974). Artists who have covered the song on stage or in the studio include Oasis, the Smashing Pumpkins, Travis, Arcade Fire and Blondie, whose 1980 live version featured Fripp on guitar. American rock band the Wallflowers recorded a version for the soundtrack to the 1998 monster film Godzilla. This version, released as a single on 21 April 1998, peaked at number 10 on the US Billboard Modern Rock Tracks chart in 1998, as well as number 27 on the Billboard Hot 100 Airplay chart and number 23 on the Billboard Mainstream Top 40 chart. In Canada, the single topped the RPM Alternative 30 for six weeks and reached number 13 on the RPM Top Singles chart. British duo Dom and Nic directed the song's music video. The Wallflowers' cover was positively received, with Billboard editor Larry Flick writing that it "beautifully illuminates the heart tugging quality of the lyrics" but noting the lead singer Jakob Dylan failed to replicate the "irony and edge" of Bowie's version. Artists who have covered Helden include Apocalyptica and Letzte Instanz. In 1997, American composer Philip Glass adapted the "Heroes" album into a classical music symphony, titled "Heroes" Symphony, utilising the title track as the root for the first movement. The same year, Aphex Twin remixed Bowie's original vocal onto Glass's adaptation for release on a Japanese 3 inch CD single. At Bowie's own request, TV on the Radio covered Heroes in 2009 for the charity album War Child Heroes. A year later, Peter Gabriel released a stripped down version for his covers album Scratch My Back (2010). The same year, the finalists of The X Factor released a version for the Help for Heroes charity, which reached number one on the Irish, Scottish and UK Singles Chart. Regarding this version, Pegg writes that it introduced "a new generation to David Bowie by subjecting one of his greatest songs to the anodyne arrangements, Eurovision key changes and sub Mariah Carey karaoke yodeling which are the core ingredients of The X Factor ongoing mission to eradicate real music from planet earth". Following Bowie's death, Heroes became a favourite at tribute events and was covered by artists such as Coldplay, Blondie, Lady Gaga and Prince, who performed the track regularly shortly before his own death in 2016. On Twitter, the German Foreign Office paid homage to Bowie for "helping to bring down the Wall". Depeche Mode subsequently released a cover to commemorate the song's 40th anniversary, with Gahan stating, "Bowie is the one artist who I've stuck with since I was in my early teens. His albums are always my go to on tour and covering Heroes is paying homage to Bowie." King Crimson, who had added the song to their live set in 2000 when the band boasted former Bowie players Fripp and Adrian Belew, recorded a version for their five track EP Heroes: Live in Europe 2016. Motörhead also released a version on their 2017 album Under Cöver, which was recorded in 2015 during the recording sessions for Bad Magic, and one of the last songs recorded before Lemmy's death that same year. Guitarist Phil Campbell stated, "It's such a great Bowie song, one of his best, and I could only see great things coming out of it from us, and so it proved to be."

Bowie allowed Heroes to be used in advertising campaigns throughout his lifetime, from ads for cell phones, cars and softwares, to HBO Latin American programming, musical video games and sporting events. One such event was the opening ceremony of the 2012 Summer Olympics, where it was played as the British team entered the Olympic Stadium. In 2001, the song appeared in three prominent feature films: Antitrust, Moulin Rouge! and The Parole Officer. On television, the song has made appearances in Glee (2012), the US version of The Tomorrow People (2014) and Regular Show (2017), and on soundtrack albums for Heroes and Ninja Assassin (2009). Meanwhile, Gabriel's version was used in two episodes of the Netflix series Stranger Things in 2016 and 2019. Bowie's original was also featured in the film The Perks of Being a Wallflower (2012), and in the premiere trailer for the Brazilian film Praia do Futuro (2014). Five years later, Helden was played at the end of Jojo Rabbit.