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Glam, New Wave science fiction, exuberance neurotic - the problem of making a ridiculous "jukebox musical" Bowie is that he has done everything already

History of Pop for the week began as a musical, and shows every sign of becoming a pantomime. As reported last week, David Bowie had authorized, it seems, their songs to be used in a "jukebox musical" at the O2 next year, like We Will Rock You, written by Ben Elton to showcase the music of Queen. Bowie, however, quickly countered the idea: he and his label were involved in a license for a "long term" Music

Heroes: The Musical has the ring of authenticity about it - not because of the alleged participation of credible choreographers and works of charity, but because the plot and realistic concept seemed terrible. He had all the characteristics of the musical jukebox. He promised to fit in the characters - a Major Tom, of course, but also a "young friend" and "Starman" - that is trotting through a dystopian future story. For a fan of Bowie's career change and multi-layered music that sounded terrible man could have done theatrical characters to pop mode, but that does not mean we have to see everyone in a silly mashup with a man who sold the world's Thin White Duke mounted on a crystal chandelier.

The main problem is that the story and pop do not always mix. Pop music is a thing of enduring power when it comes to driving a mood or a moment, but the songs that match the stories often have to move along. ABBA, whose work led to Mamma Mia!, Music jukebox's most successful, however, often dreamed of writing full-length theatrical performances. But when I tried - in 1977 "mini-musical" The girl with golden hair - the results of the audience confused. The group had a talent to suggest stories, not necessarily to be said, and goes pop as a whole. One of my most exciting experiences of this year was the first hearing of hardcore band Fucked Up Queen of Hearts - a song full of big dreams - a blend of hooks and songs from Springsteen barked, guttural. When I heard him - knowing nothing of the band - it was intoxicating. But repeated listening I paid more attention, and the spectrum of narrative disheartening crept in. Who were the "David" and " Veronica "in the song, why should I care? Indeed, the album of the parents happens to be a history of 80 minutes. I still love the track, and I will listen to the full-length, but my hope plunges abruptly when I heard that. As a listener, you can love stories, but I always prefer to fill myself - something that apparently includes Bowie

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