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DAVID BOWIE

Prog Related • United Kingdom


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David Bowie biography
David BOWIE is born David Robert Jones on January 8 1947.
He started making music in the late fifties (saxophone) and eventually played in a number of blues/rock bands, releasing his first single Liza Jane with The King Bees in 1964, he also changed his stage name to David BOWIE to avoid confusion with Davy Jones from THE MONKEES. BOWIE demonstrates several traits that single him out as a song-writer of interest to followers of Progressive music: narrative story-telling & characterisation, non-standard song structures, musical eclecticism and a variety of singing styles that have a wide vocal range and mixture of different tones & timbres to suit individual songs and stage personas.

Formative years. The Deram Years and Beckenham Art Labs

From 1966 until 1968 David BOWIE was under contract with Decca's Deram label. In 1967 he released his first album, a psychedelic pop album with music hall/cabaret overtones that show manager Ken Pitt's desire to form BOWIE into an 'all-round entertainer' like Tommy Steele and Anthony Newley when BOWIE's own aims were more Jacques Brel, Bertolt Brecht and Bob Dylan. The album and singles weren't much of a success, but reveal BOWIE's ability to craft simplistic sounding songs that were anything but the whimsical pop they first appear to be, rarely following pop or rock conventions many of these songs are mini-concepts or narratives with dark, subversive, dystopian and 'taboo' themes that he would develop in his later career. Marred by the uninspired addition of superfluous string arrangements the music of this early period has been captured by the Deram Anthology released in 1997 which also contains a number of previously unreleased tracks.

At the start of 1969 David was at a low point in his career. Together with some friends he decided to organise a Folk Club at the Three Tuns. It was an immediate success and soon developed into an Arts Laboratory - attracting talent from all over London and the south east. Musicians who played at the Arts Lab included Peter Frampton, Steve Harley, Dave Cousins and the Strawbs, Rick Wakeman, Tony Visconti and Mick Ronson. There was a lot more than music at the Beckenham Arts Lab. Visual artists created original works, poets gave readings, there were light shows, street theatre, dance - and Brian Moore's unforgettable puppets. Between 1969 and 1973 The Beckenham Arts Lab was a crucible for artistic talent and the launch pad for David Bowie's rise to stardom. Yet suc...
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Buy DAVID BOWIE Music


Best of BowieBest of Bowie
Virgin / EMI 2006
Audio CD$9.32
$2.91 (used)
BlackstarBlackstar
Explicit Lyrics
Sony Music Canada Inc. 2016
Audio CD$5.65
$3.45 (used)
The Rise and Fall Of Ziggy Stardust And The Spiders From Mars (180 Gram Vinyl)The Rise and Fall Of Ziggy Stardust And The Spiders From Mars (180 Gram Vinyl)
Limited Edition · Remastered
Rhino/Parlophone 2016
Vinyl$18.53
$13.53 (used)
Aladdin Sane (180 Gram Vinyl)Aladdin Sane (180 Gram Vinyl)
Rhino/Parlophone 2016
Vinyl$17.38
$7.48 (used)
A New Career In A New Town (1977-1982)(11CD)A New Career In A New Town (1977-1982)(11CD)
Rhino/Parlophone 2017
Audio CD$109.67
$98.72 (used)
Hunky Dory (180 Gram Vinyl)Hunky Dory (180 Gram Vinyl)
Limited Edition · Remastered
Rhino/Parlophone 2016
Vinyl$18.68
$17.99 (used)
Hunky DoryHunky Dory
Import · Remastered
Rhino/Parlophone 2015
Audio CD$6.42
$11.57 (used)
HeroesHeroes
Virgin 1999
Audio CD$5.83
$7.99 (used)
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DAVID BOWIE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DAVID BOWIE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.46 | 130 ratings
David Bowie
1967
3.34 | 259 ratings
Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music]
1969
4.00 | 329 ratings
The Man Who Sold The World
1970
4.16 | 438 ratings
Hunky Dory
1971
4.21 | 590 ratings
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
1972
3.87 | 319 ratings
Aladdin Sane
1973
3.07 | 174 ratings
Pin Ups
1973
3.62 | 239 ratings
Diamond Dogs
1974
2.78 | 174 ratings
Young Americans
1975
3.97 | 279 ratings
Station to Station
1976
4.06 | 359 ratings
Low
1977
4.03 | 335 ratings
Heroes
1977
3.39 | 195 ratings
Lodger
1979
4.15 | 297 ratings
Scary Monsters (And Super Creeps)
1980
3.06 | 212 ratings
Let's Dance
1983
2.20 | 118 ratings
Tonight
1984
2.15 | 68 ratings
David Bowie & Trevor Jones: Labyrinth (OST)
1986
2.23 | 101 ratings
Never Let Me Down
1987
3.09 | 96 ratings
Black Tie White Noise
1993
3.33 | 65 ratings
The Buddha Of Suburbia (OST)
1993
3.61 | 142 ratings
1. Outside
1995
2.84 | 140 ratings
Earthling
1997
3.45 | 120 ratings
Hours...
1999
3.77 | 157 ratings
Heathen
2002
3.36 | 118 ratings
Reality
2003
3.89 | 173 ratings
The Next Day
2013
4.52 | 274 ratings
Blackstar
2016

DAVID BOWIE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.82 | 54 ratings
David Live
1974
3.87 | 71 ratings
Stage
1978
3.91 | 23 ratings
Ziggy Stardust And The Spiders From Mars-The Motion Picture Soundtrack
1983
4.11 | 19 ratings
Santa Monica '72
1994
2.00 | 2 ratings
Rock'n'Roll Suicide
1995
3.88 | 25 ratings
Bowie at the Beeb
2000
3.47 | 20 ratings
Live in Santa Monica'72
2008
4.08 | 34 ratings
A Reality Tour
2010
5.00 | 2 ratings
Cracked Actor (Live Los Angeles '74)
2017

DAVID BOWIE Videos (DVD, Blu-ray, VHS etc)

3.60 | 19 ratings
The Best of Bowie
2002
3.83 | 6 ratings
Serious Moonlight, Live In Vancouver
2009

DAVID BOWIE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
The World Of David Bowie
1970
3.57 | 22 ratings
ChangesOneBowie
1976
3.91 | 17 ratings
Soundtrack Christiane F. - Wir Kinder Vom Bahnhof Zoo
1981
3.75 | 4 ratings
Changestwobowie
1981
2.05 | 2 ratings
Fame and Fashion (David Bowie's All Time Greatest Hits)
1984
3.34 | 10 ratings
Sounds + Visions
1989
4.56 | 9 ratings
Changesbowie
1990
3.50 | 21 ratings
The Singles Collection
1993
5.00 | 1 ratings
The Singles 1969 to 1993
1993
2.72 | 9 ratings
The Deram Anthology 1966-1968
1997
3.67 | 3 ratings
London Boy
1998
5.00 | 1 ratings
The Best of David Bowie 1969/1974
1998
5.00 | 2 ratings
The Best of David Bowie 1974/1979
1998
4.00 | 5 ratings
All Saints (Collected Instrumentals 1977 - 1999)
2001
3.34 | 27 ratings
Best of Bowie
2002
3.50 | 4 ratings
The Collection
2005
0.00 | 0 ratings
The Platinum Collection
2005
3.96 | 8 ratings
The Best Of David Bowie 1980/1987 (CD + DVD)
2007
3.67 | 3 ratings
iSelect
2008
4.67 | 3 ratings
Nothing Has Changed
2014
0.00 | 0 ratings
Bowie Legacy
2016

DAVID BOWIE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.83 | 4 ratings
Space Oddity / Wild Eyed Boy from Freecloud
1969
2.71 | 7 ratings
Memory Of A Free Festival
1970
2.00 | 1 ratings
Starman / John, I'm Only Dancing
1972
3.86 | 3 ratings
Changes / Andy Warhol
1972
4.05 | 2 ratings
Time / The Prettiest star
1973
5.00 | 1 ratings
Young Americans / Suffragette City
1975
2.00 | 1 ratings
Sound and Vision / A New Career in a New Town
1977
4.00 | 1 ratings
Ashes To Ashes
1980
3.89 | 9 ratings
David Bowie In Bertolt Brecht's Baal
1982
3.25 | 4 ratings
Cat People (Putting Out Fire)
1982
2.10 | 2 ratings
Blue Jean
1984
3.64 | 5 ratings
1966 (Aka 'I Dig Everything: The 1966 Pye Singles)
1989
3.08 | 7 ratings
Jump They Say
1993
4.00 | 6 ratings
Where Are We Now?
2013
4.00 | 6 ratings
The Stars (Are Out Tonight)
2013
4.03 | 10 ratings
No Plan
2017

DAVID BOWIE Reviews


Showing last 10 reviews only
 No Plan by BOWIE, DAVID album cover Singles/EPs/Fan Club/Promo, 2017
4.03 | 10 ratings

BUY
No Plan
David Bowie Prog Related

Review by Mellotron Storm
Prog Reviewer

4 stars The "No Plan" EP was released on what would have been Bowie's 70th birthday. Just 18 minutes worth of music but well worth picking up if you enjoyed the "Blackstar" album. That album was my number one for 2016 so buying this EP was a bit of a no brainer considering the songs here could all have been on "Blackstar" as they all have that same vibe. Of course the opener "Lazarus" is on the studio album.

"Lazarus" is incredible for it's lyrics which could make your hair stand up. Love the droning horns and overall melancholic mood which was there in spades on "Blackstar" and throughout this EP. I mentioned the lyrics and here's a sample... "Look up here, I'm in heaven!" which is significant with him passing just after "Blackstar" was released. love the line later on... "By the time I got to New York, I was living like a king." Such emotion in the lines that follow as well. Some abrasive guitar expressions late.

"No Plan" is the only tune that I'm not big on. It's still a good song though. Heavy drums, keys and sax as laid back vocals join in almost quivering. Vocals stop after 2 1/2 minutes then the sax returns as it plays out to the end.

"Killing a Little Time" is my favourite of the new songs. A surprisingly powerful sound here with impressive drum work from American Jazz drummer Mark Guiliana. It settles back as vocals arrive quickly but the power will come and go. Some emotion in those vocals. What a song!

"When I Met You" opens with drums and atmosphere as the bass and keys join in, then vocals just after a minute. Catchy stuff. Great chorus too. I just want to keep singing "When I met you" over and over just like Bowie does.

Easily 4 stars and a great companion to "Blackstar".

 Stage  by BOWIE, DAVID album cover Live, 1978
3.87 | 71 ratings

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Stage
David Bowie Prog Related

Review by Warthur
Prog Reviewer

4 stars This is a solid live recording from the Isolar II tour Bowie undertook in 1978, primarily showcasing material from Low and Heroes but with a few throwbacks - including an extended set of material from Ziggy Stardust. Bowie sounds more relaxed and comfortable than he has in a live context for a long while. On one level, this is reassuring - he was in a bad way just a few years prior - but it also means that the set, being a bit more relaxed, is also a bit less compelling. Compare it, say, to the dark energy of the 1976 Nassau concert (made available for the first time on the Who Can I Be Now? boxed set and later given a standalone release), or for that matter to the manic panic of the Cracked Actor live set from 1974 (recently released and putting David Live into the shade). Still, when the material at hand is this good and the band assembled is so professional, the show still ends up pretty good, though not quite essential.

Moreover, the chilly art rock experimentation of the Berlin era doesn't really suggest the warmth and spontaneity of live performance very much - so Bowie wisely doesn't try to recapture the sound of the most experimental parts of those albums onstage, instead giving the material an extensive reworking to make it more amenable for a live band, ("What In the World" may offer the most radical example of this). Taking on Adrian Belew as live guitarist lends a different but interestingly so sound to many of the songs, especially the Heroes material, which is rather transformed when you take Robert Fripp away and put Adrian Belew in his place.

(I have to wonder, in fact, whether Fripp had this album in mind when considering Belew for the 1980s King Crimson revival - after all, anyone who could reinterpret Fripp's approach in their own distinct style to this extent is surely a rare find.)

Earlier releases of the album hacked about the running order a lot, which rather shakes you out of the live context; more recent rereleases on CD restore missing songs and put the set list back how it's supposed to be. The best of these is the 2017 edition released on the A New Career In a New Town boxed set, which restores the final missing songs from the setlist (aside from Rebel Rebel, which was only occasionally performed on the tour as an encore), providing finally a complete Isolar II set for the listener's enjoyment. (I don't even miss the encore very much - the upbeat take on TVC 15 the album closes with is already a joyful enough farewell for my tastes.)

 Time / The Prettiest star by BOWIE, DAVID album cover Singles/EPs/Fan Club/Promo, 1973
4.05 | 2 ratings

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Time / The Prettiest star
David Bowie Prog Related

Review by Matti
Prog Reviewer

4 stars This single contains two songs from David Bowie's follow-up to Ziggy Stardust breakthrough album, Aladdin Sane, and also circulates the album's cover picture. 'Time' is definitely among my all-time favourite Bowie songs. Mike Garson's very decorative and playful piano style graces the album's best tracks, which are in my opinion this one, 'Aladdin Sane' and 'Lady Grinning Soul'.

German cabaret music influences had been around in Bowie's music before, but 'Time' has such a strong Kurt Weill spirit that "if Lotte Lenya had popped in to duet, nobody would have been surprised at all", as Ned Raggett writes in All Music Guide. Strangely, I'm no fan of cabaret music at all, but somehow I'm fascinated by those charasteristics in this song. It begins effectively with only the piano and Bowie's distinctive vocals (featuring that notorious kinky line "falls wanking to the floor"), the rest of the band entering at around 40 seconds. The excellent melody is the real clue of the song, finished to perfection with the dynamics between echoing cabaret sections and the fuller band sound, without forgetting the fine vocal harmonies. The grandiose emotion is being milked to the last drop on the much-repeated "la-la-la" verse at the end of the album version. The single edition is approximately 1½ minutes shorter.

'The Prettiest Star', also from the Aladdin Sane album, is a light-hearted, fifties-spirited song that has never been among my Bowie favourites. It features Marc Bolan on electric guitar. I do like the melody, but the song is way too repetitive, lacking further inspiration musically and lyrically. [The Finnish singer-songwriter Hector recorded 'The Prettiest Star' on the 1977 "HEC" album along with another Bowie tune, 'TVC15'. Not very strong choices, I'd say.]

Four stars for the excellent A-side song that's not as well known as it would deserve to be.

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.06 | 359 ratings

BUY
Low
David Bowie Prog Related

Review by Mellotron Storm
Prog Reviewer

4 stars The first of the so called "Berlin Trilogy" of albums. This was critically acclaimed at the time although that didn't translate into big sales but "Sound And Vision" was a surprise hit of sorts. Brian Eno really "makes" this record for me, the second half especially. There are a couple of killer tunes on the first side as well. I was impressed with all the instruments Bowie plays on here.

"Speed Of Life" is catchy which isn't surprising but the fact Bowie starts the album off with an instrumental is. We get bass, percussion, piano and synths standing out. "Breaking Glass" is a toe-tapper with guitar, bass and a beat to start as vocals join in. I do prefer the stripped down chorus to the rest. "What In The World" has these strange sounding synths and much more to begin with. So much going on including vocals. This reminds me of "Golden Years" for some reason. The guitar sounds excellent, quite interesting and Iggy Pop adds backing vocals.

"Sound And Vision" is good with the bass and synths bringing me some joy here. Again it's catchy and we get some backing female vocals and Bowie adds sax. He starts singing around 1 1/2 minutes. "Always Crashing In The Same Car" is a top three, yes I really like this for some reason. Check out the treated guitar to start as laid back vocals and more help out. It turns fuller with drums before a minute. Bowie adds some cello and I like how the guitars are used on this one.

"Be My Wife" is another top three. Piano and drums standout to begin with as the vocals join in. Bass and guitar follow. I really enjoy the bass. "A New Career In A New Town" has a beat and spacey sounds before high pitched piano lines join in along with harmonica from Bowie. Back to the opening them as they are contrasted. Nice bass 2 1/2 minutes in. "Warszawa" is pretty much all Eno as he wrote the song and plays everything on it. Love the mellotron-like sounds from the chamberlain and the synths as well. Bowie adds some World music-like vocals that I wish weren't on here but oh well.

"Art Decade" has synths and what sounds like a tambourine and more. It's a laid back tune and quite melancholic with chamberlain, cello, piano and guitar. "Weeping Wall" has some vibes and xylophone which adds a different shade here. Vocal melodies and guitar expressions as well. My favourite(and it's no contest) is "Subterraneans". Spacey synths and bass early then some vocal melodies 2 minutes in. Great sound here! Such a dreamy mood to it. Some relaxed sax after 3 minutes from Bowie then vocals a minute later. Sax is back before 5 minutes.

This is worth 4 stars but I give Eno a ton of credit for this album. And it's one of the rare Bowie albums I have kept after all these years.

 Cracked Actor (Live Los Angeles '74) by BOWIE, DAVID album cover Live, 2017
5.00 | 2 ratings

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Cracked Actor (Live Los Angeles '74)
David Bowie Prog Related

Review by Warthur
Prog Reviewer

5 stars With a limited vinyl edition released for 2017's Record Store Day followed by a 2CD digipack, David Bowie's estate graces us with a long-overdue official release of this much-bootlegged live set. Legendary in part for being partially captured on the Cracked Actor documentary film by Alan Yentob, which captured Bowie in the process of spiralling into the cocaine addiction that nearly completely derailed him in the mid-1070s, this release sets itself head and shoulders above the bootlegs by a fine mastering job at the hands of Tony Visconti.

Though recorded a couple of months after David Live, the concert featured a markedly tweaked lineup, which combined the soul experimentation of the Philly Dogs tour with an evocative torch song aesthetic and a brief return of the glam rock fire that Bowie was trying to work beyond. The end result is perhaps the most sonically interesting of Bowie's work from his soul experimentation phase, particularly since the concert takes place just after The Gouster was wrapped up but before it got reconfigured into the Young Americans album we now know and love - It's Gonna Be Me and John I'm Only Dancing (Again) are both present in the setlist, for instance.

As a revelation of how quickly Bowie was evolving even from month to month during this time period, it's priceless - but the CD digipack version is actually a very reasonably priced budget release. Highly recommended.

 Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music] by BOWIE, DAVID album cover Studio Album, 1969
3.34 | 259 ratings

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Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music]
David Bowie Prog Related

Review by VianaProghead
Prog Reviewer

3 stars Review Nş 112

'Space Oddity' is the second studio album of David Bowie and was released in 1969. It was regarded as a mix of folk, rock, psychedelic, space, pop and progressive rock and a transition album between the music of the 60's and what would be the future music of the 70's. So, basically 'Space Oddity' can be viewed, in retrospect, as all that Bowie had been and a little of what he would become, in the next years. It represents a big step in relation with his debut album. It was regarded as a mix of folk, rock, psychedelic, spacey music, pop and progressive rock. We can say that basically it's a transition album between the music of the 60's and what would be the future music of the 70's.

'Space Oddity' has ten tracks. All songs were written and composed by Bowie. The first track is the title track 'Space Oddity'. It was released as a single in 1969. The song is about the launch of Major Tom, a fictional astronaut, which name alludes to the science fiction film '2001: A Space Odyssey', directed by Stanley Kubrick. This is a fantastic song with interesting lyrics and good music, very relevant even today, and is a mark of the end of the 60's. It became an icon and a masterful song of him. Rick Wakeman was superb on the mellotron and gives to the track a progressive final touch. The second track 'Unwashed And Somewhat Slightly Dazed' is another great song that starts with Bowie's 12 string acoustic guitar and that soon moves into a more rock style with great rhythm and a fantastic harmonica working. This is a typical folk/rock song in the usual Bob Dylan's musical style. The third track '(Don't Sit Down)' is a very short track with only 40 seconds. It can't be considered properly a song. It has no musical structure but only a spontaneous studio joke made during the recording sessions. In some later releases, it was even removed, showing that it can't be considered properly a truly song. The fourth track 'Letter To Hermione' is a nice acoustic ballad, the first of the album. It's a love letter to Hermione Farthingale that became Bowie's girlfriend and they lived together for a short while, in London. It's a beautiful and interesting song where Bowie shows his soul in a very real and poignant way. The fifth track 'Cygnet Committee' is a very ambitious progressive folk rock song and represents one of the lengthiest Bowie's studio recording songs. Lyrically is very strong and one of the highlights of the album. It's an epic track with nearly 10 minutes long and where Bowie provides a beautiful vocal work. It's a lengthy song that gradually moves from slow to rapid and vice versa. The sixth track 'Janine' is the second folk rock song on the album with a pure Bob Dylan's musical style. It's a beautiful acoustic ballad with nice and interesting lyrics and where the melody has an interesting flowing. It's a song with a nice mixture of acoustic and electric guitar works, a good bass line and where Bowie's vocals serve the song perfectly well. The seventh track 'An Occasional Dream' is a short and gentle love song with a beautiful flute musical arrangement about a very brief and intense affair. We are in presence of another folk rock ballad with a very interesting, pleasant and peaceful tune. The eighth track 'Wild Eyed Boy From Freecloud' was the song chosen to be released as the B side of the single 'Space Oddity'. It's one of the most progressive songs on the album in the pure symphonic style. It's a song with good lyrics and is divided into several musical sections, which features full orchestral arrangements. It's also the debut song recorded by Bowie with Mick Ronson. The ninth track 'God Knows I'm Good' is another folk song where Bowie plays his 12 string acoustic guitar, which he often do on the album. It has a nice melody and an interesting catchy story, a woman stealing food and saying to God that she remains a good person. It's a very good folk song with great acoustic guitar working. The tenth and last track 'Memory Of A Free Festival' is the second epic song of the album. It's a psychedelic folk space rock song with good lyrics and nice tunes. The track is about a festival that Bowie organized in London, in 1969. I agree with some reviewers when they say that the first part is very interesting, but the second part is a little bit repetitive. Anyway, this is an interesting way to close this nice album.

Conclusion: This is my first review of a Bowie's studio album on Progarchives. However, I had already reviewed his live album 'Stage', before. This is also one my oldest albums in my vinyl collection and I must confess that I always had a soft spot for this album. It always was and it still remains to me, as one of my favourite albums from Bowie. I can clearly see some parallelism between 'Space Oddity', Genesis' 'Trespass' and Tim Buckley's 'Goodbye And Hello', but due to different reasons. 'Space Oddity' is for Bowie's fans the same thing that 'Trespass' is for Genesis' fans. Despite both albums being the second studio albums from them, both represent, in a certain way, their real debut album. By the other hand, 'Space Oddity' and 'Goodbye And Hello' are two excellent albums and both represent, in my humble opinion, two of the best and most representative albums from progressive folk and psychedelic music. They represent, in my humble opinion, two of the best examples of the changing of the rock music in the end of the 60's. So, despite it can't be considered a masterpiece or an excellent album it has its merits and deserves to be fully appreciated.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.52 | 274 ratings

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Blackstar
David Bowie Prog Related

Review by tszirmay
Special Collaborator Crossover Team

5 stars Mournfully woeful, the Bowie star slowly fades into dark matter, a final testimony to his art and his rather unique place in the musical constellation. Going over all his chameleon-like alterations/variations would be pedant and utterly boring, definitely not urban chic, a trait David owned in spades. Personally, I deeply enjoyed the decidedly prog-rock leanings of '1.Outside', an anti-pop testament from a pop artist who ruled this contradiction with few rivals! Blackstar shimmers in shivering galactic sheen, before evolving into a tortuous interstellar dirge, complete with Nik Turner-like sax squawks, bubbly synths and a vocal that transcends space oddity and hunky dory time. Major Tom in a NASA capsule.

The man who sold the world lands back on earth and wanders straight into some futuristic bordello, screaming 'saxual' bondage and whiplash beat, surrounded by pin ups and diamond dogs, your typical distorted young American masquerading as a lad somewhat insane. 'Tis a pity she was a whore' is not a misogynist statement but rather a personally profound regret, perhaps for having lived a life full of scary monsters and low heroes (Ziggy, Duke, Sane, Earthling etc..) and indulging in transgender exploration, bending rules and preconceived notions.

'Lazarus' is quite the 21st century ballad, a lovely song coated in alleged sweetness but really more menacing and bittersweet, just barely below the surface. It hit me quite quickly how much it has a spiritual resemblance to Porcupine Tree's classic song of the same name, Prog-pop songs that exude feeling and 'scars that can't be seen', a tremendous lullaby of magnificence and despair. David's vocal is transcending, egged along by a poignant saxophone spread, courtesy of Donny McCaslin. The moody outro is pure gold, gentle and exalted.

Hey, let's dance a bit with 'Sue' because David of Suburbia will never let you down, even if he is the only DJ, but tonight it's in a decadent, dissonant and a paranoid club, where everyone is wearing black ties but have no faces, surrounded by white noise and an absolutely wicked percussive back beat. Intense, corrosive, ashen, the arrangement is a musical Polaroid of instant gratification (they do something in the weeds), a dizzying palette of oddity that somehow makes the skin crawl, as he intones 'soon goodbye'. Eerie! This is not Donna Summer but Sue.

Kindergarten-like recitation appears with obsessive 'Girl Loves Me', another swirling, drum-punched, bass sweltered and echo-laden voice masterpiece. Ding-ding! Troubling material, Heathen reality. Just like the next day offers a new sun, sweeping relief comes with the symphonic 'Dollar Days', a gorgeously orchestrated and lovingly sung track that expresses David's sweet side, 'never seeing the English evergreens' as Donny does his finest Andy Mackay tribute on sax, blowing mighty and sweaty. This segues straight into the last song, the finale 'I Can't Give Everything' , a perfect cover to consider for Bryan Ferry, Martin Fry, David Gahan, Jim Kerr, Bono and the hundreds of emotional singers out there.

Finally, the drum work here really stands out, a brazen blend of rock pummeling and jazzy twists, giving very track a pulse, a beat, perhaps knowing full well that the motor will soon pause into park. Mark Guiliana is a stellar stick man. Freddie and Davie can now sing Ashes to Ashes without sounding prophetic or feeling Under Pressure. Legends live on eternal . RIP

5 'toiles noires

 Lodger by BOWIE, DAVID album cover Studio Album, 1979
3.39 | 195 ratings

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Lodger
David Bowie Prog Related

Review by Walkscore

2 stars Dull and Disappointing.

The final installment of the 'Berlin trilogy' is a let-down after its two predecessors, Low and Heroes. The innovative lets-try-something-new approach is gone, and we are back to straight three-minute rock songs. However, Bowie is not at his best in the song-writing department and virtually all of these tunes are forgettable. They are not awful, but they lack both the emotional punch and lyrical cleverness of his earlier gems, and the experimental ethereal feel (and even the funkiness) of the albums previous to this. "Look Back in Anger" and "Red Sails" are OK, but even those couldn't get onto any Bowie best-of compilation, even an extended box-set version. I find the rest of the songs just too dull. It is odd, as Scary Monsters (the studio album which follows this one) is great. The best thing about Lodger is Adrian Belew's guitar playing, but the songs are not extended enough to give him any room for showing off. I give this album 5.1 out of 10 on my 10-point scale, which translates to (high) 2 PA stars.

 Heroes by BOWIE, DAVID album cover Studio Album, 1977
4.03 | 335 ratings

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Heroes
David Bowie Prog Related

Review by Walkscore

3 stars Not quite as good as Low, but still great innovation.

Working again with Brian Eno (and this time with Robert Fripp on some guitar solos), Bowie here makes one of his most experimental albums. And like many experiments, not everything here works. But when it does, it produces a number of really refreshing and new sonic landscapes. The album starts off with the very good "Beauty and the Beast", which, with "Joe the Lion", harken back to the music on Low. This is followed by "Heroes", by now one of Bowie's most iconic songs. Although I agree and I quite like the song, it is not my favourite on the album (indeed, its three-chord structure has worn on me over the decades). What I really like here though are the tracks that follow and make up most of the second side of the album. Here is where Bowie once again becomes a key innovator, with the help of Eno, and the result is a very memorable and different collection of music. While the album Heroes is not quite as good as Low (nor Station to Station), it is MUCH better than the album that would follow (Lodger), which I understand was made quickly in order to fulfill contractual obligations more than anything. I give this album 7.5 out of 10 on my 10-point scale, which translates to high-ish 3 PA stars.

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.06 | 359 ratings

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Low
David Bowie Prog Related

Review by Walkscore

4 stars One of Bowie's Best.

This is the first of Bowie's so-called 'Berlin triology', which are collaborations with Brian Eno. This album sees Bowie once again break with (his) earlier traditions, and experiment with music in ways few expected. While 'Heroes' would see Bowie extend this experimental approach even further, 'Low' is the more musical of the three (and the third in the trilogy, 'Lodger', is not nearly as musical nor experimental). On Low, most of the tunes have vocals, but a few, like Warszawa, and Weeping Wall, are instrumentals (which would be repeated on Heroes). Speed of Life, Breaking Glass, Sound and Vision, and especially, Be My Wife, are excellent songs, while the instrumentals with Eno are eerie and groundbreaking but also quite musical. Bowie would reinvent himself many times, but this period (and I include Station to Station in this) is my favourite Bowie period. It is when he was most innovative.(Although I still think Hunky Dory is his very best album). I give Low 8.1 out of 10 on my 10-point scale, which translates to 4 PA stars.

Thanks to micky for the artist addition. and to Dean for the last updates

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