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On 13–18 August 1974, Bowie recorded "Can You Hear Me?" at Sigma Sound Studio in Philadelphia for Young Americans. [3] [5] In August 1975, he told Anthony O'Grady, in an interview for New Musical Express: "'Can You Hear Me' was written for somebody but I'm not telling you who it is. That is a real love song. I kid you not." [2]
and "Somebody Up There Likes Me". Visconti, who believed the album was completely finished, returned to London to record string arrangements for "Can You Hear Me", "Win" and "It's Gonna Be Me" at AIR Studios, [25] while Bowie remained in New York, working on separate mixing with in-house engineer Harry Maslin. [1] [26]
For Bowie himself, the Duke was "a nasty character indeed". [21] The lyrics themselves contain very cryptic messages and direct references, including to the 13th century Jewish mystical system known as the Kabbalah and gnosticism. [13] Bowie would later claim in 1997: "All the references within ["Station to Station"] have to do with the Kabbalah."
E minor is a minor scale based on E, consisting of the pitches E, F ♯, G, A, B, C, and D. Its key signature has one sharp , on the F. Its relative major is G major and its parallel major is E major .
The longer bridge features a chord progression from G major ("nothing's gonna touch you") to A minor ("golden") then an E minor 7th ("years"), ending with a 2/4 cut time bar. Here, Bowie sings "go-oh-oh-old" while Murray's bass overlays a Moog synthesiser. There is also prevalent percussion throughout, including handclaps, vibraslap and melodica.
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These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.
The song is primarily in the key of C major, featuring a blues-style chord progression in the verses, with an additional F minor sprinkled throughout. The bridges are in F7/A7, containing a Kraftwerk-inspired sequence of "trans-sition" and "trans-mission" lines. These are undercut by Alomar plucking on his guitar's B string. Alomar described ...