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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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BlackstarBlackstar
Columbia 2016
Audio CD$6.90
$5.76 (used)
Best of BowieBest of Bowie
Virgin / EMI 2006
Audio CD$6.99
$1.94 (used)
The Rise And Fall Of Ziggy Stardust And The Spiders From MarsThe Rise And Fall Of Ziggy Stardust And The Spiders From Mars
Remastered
Rhino/Parlophone 2015
Audio CD$4.43
$4.99 (used)
HeroesHeroes
Virgin 1999
Audio CD$3.58
$9.17 (used)
Nothing Has Changed - 3CDNothing Has Changed - 3CD
Legacy 2014
Audio CD$16.97
$17.00 (used)
LowLow
Remastered
Virgin 1999
Audio CD$3.62
$6.20 (used)
Station to StationStation to Station
Remastered
Virgin 1999
Audio CD$3.63
$32.62 (used)
Hunky DoryHunky Dory
Remastered
Rhino/Parlophone 2015
Audio CD$4.43
$11.47 (used)
Aladdin SaneAladdin Sane
Remastered
Rhino/Parlophone 2015
Audio CD$4.25
$9.80 (used)
Let's Dance [ECD]Let's Dance [ECD]
Parlophone 1999
Audio CD$3.63
$2.00 (used)
Right Now on Ebay (logo)
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2h 22m
DAVID BOWIE Vintage Australian MUSIC MAGAZINE COVER No.2 1983 USD $7.04 [0 bids]
2h 30m
David Bowie - Heroes - Eno - Fripp - 1977 LP USD $22.50 [3 bids]
2h 37m
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3h 11m
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3h 17m
DAVID BOWIE BE MY WIFE / SPEED OF LIFE 7" DUTCH HOLLAND RCA Victor PB 1017 1977 USD $30.00 Buy It Now 3h 23m
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4h 9m
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5h 9m
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5h 28m
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5h 28m
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5h 35m
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David Bowie concert ticket. 1970's. ISOLAR II tour. EARLS COURT LONDON. 29/6/78. USD $36.09 [0 bids]
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6h 16m
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6h 27m
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6h 56m
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7h 12m
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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)

2.41 | 101 ratings
David Bowie
1967
3.34 | 206 ratings
Space Oddity
1969
4.01 | 259 ratings
The Man Who Sold The World
1970
4.19 | 353 ratings
Hunky Dory
1971
4.19 | 486 ratings
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
1972
3.85 | 252 ratings
Aladdin Sane
1973
2.86 | 136 ratings
Pin Ups
1973
3.62 | 190 ratings
Diamond Dogs
1974
2.60 | 141 ratings
Young Americans
1975
3.94 | 228 ratings
Station to Station
1976
4.07 | 287 ratings
Low
1977
4.03 | 269 ratings
"Heroes"
1977
3.41 | 155 ratings
Lodger
1979
4.18 | 235 ratings
Scary Monsters (and Super Creeps)
1980
2.95 | 170 ratings
Let's Dance
1983
2.17 | 94 ratings
Tonight
1984
2.14 | 52 ratings
Labyrinth - Original Soundtrack
1986
2.20 | 83 ratings
Never Let Me Down
1987
3.11 | 80 ratings
Black Tie White Noise
1993
3.40 | 49 ratings
The Buddha of Suburbia
1993
3.59 | 121 ratings
1. Outside
1995
2.81 | 115 ratings
Earthling
1997
3.47 | 102 ratings
'hours...'
1999
3.80 | 126 ratings
Heathen
2002
3.35 | 97 ratings
Reality
2003
3.90 | 142 ratings
The Next Day
2013
4.53 | 145 ratings
Blackstar
2016

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

2.70 | 42 ratings
David Live
1974
3.82 | 59 ratings
Stage
1978
3.44 | 16 ratings
Ziggy Stardust And The Spiders From Mars-The Motion Picture Soundtrack
1983
4.13 | 11 ratings
Santa Monica '72
1994
2.00 | 2 ratings
Rock'n'Roll Suicide
1995
3.85 | 20 ratings
Bowie at the Beeb
2000
3.40 | 16 ratings
Live in Santa Monica'72
2008
4.04 | 30 ratings
A Reality Tour
2010

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

3.62 | 17 ratings
The Best of Bowie
2002
4.40 | 5 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
3.53 | 19 ratings
ChangesOneBowie
1976
3.92 | 14 ratings
Soundtrack Christiane F. - Wir Kinder Vom Bahnhof Zoo
1981
3.67 | 3 ratings
Changestwobowie
1981
2.05 | 2 ratings
Fame and Fashion (David Bowie's All Time Greatest Hits)
1984
3.18 | 9 ratings
Sounds + Visions
1989
4.40 | 5 ratings
Changesbowie
1990
3.49 | 20 ratings
The Singles Collection
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
3.27 | 24 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
4.00 | 1 ratings
iSelect
2008
4.50 | 2 ratings
Nothing Has Changed
2014

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

5.00 | 1 ratings
Space Oddity / Wild Eyed Boy from Freecloud
1969
3.00 | 5 ratings
Memory Of A Free Festival
1970
3.83 | 6 ratings
David Bowie In Bertolt Brecht's Baal
1982
0.00 | 0 ratings
Cat People (Putting Out Fire)
1982
3.77 | 4 ratings
1966 (Aka 'I Dig Everything: The 1966 Pye Singles)
1989
3.08 | 6 ratings
Jump They Say
1993
4.00 | 5 ratings
Where Are We Now?
2013
4.00 | 6 ratings
The Stars (Are Out Tonight)
2013

DAVID BOWIE Reviews


Showing last 10 reviews only
 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by Dobermensch
Prog Reviewer

5 stars Stricken with grief, it took me three weeks before I could bring myself to listen to this after hearing of Bowie's death. How is it possible to feel so sad about the death of someone you've never met or even spoken to?

What makes it all the more painful is that this is far better than any album he's released since 1995's 'Outside' with which 'Blackstar' holds many similarities. It's almost an extension of that recording without Brian Eno twiddling knobs and pushing buttons. After 5 listens I have to admit that 'Blackstar' is a masterpiece. Bowie's 'Abbey Road' if you like.

Being very excited towards the end of last year with the release of the bizarre 'Blackstar' video I couldn't wait for more of this experimental Bowie. Everything was just great - the bandaged face - the scarecrows - the quirky, odd and frankly downright weird tune left me desperate for more.

January 10th 2016... The the sky fell down...

A whole new perspective on those 2 videos hit me like a hammer blow. How couldn't I see the wardrobe door as a coffin?, Major Tom's skull? The lyrics should have been obvious enough. The real giveaway were the buttons on the eyes similar to coins on the eyes of the dead who crossed the river Styx with a payment to Charon, the ferryman of Hades, in order that their souls don't haunt the living.

This has made listening to 'Blackstar' a very difficult experience. In a year's time I'm sure I'll look back and say that it was the most brilliant artistic departure anyone has made in music. Art in death. Death in art. Right now it hurts.

'Blackstar' is like a hammered together collection of tunes that vary in sound and emotion. From the very upsetting yet superb opener we move on to 'Tis a Pity she was a Whore' - which could almost be a missing track from 'Let's Dance' When I heard there were saxophones on this album I shuddered. Thankfully they are used tastefully. Bowie's voice is in fine fettle considering he could barely speak during those last months. I guess it was recorded early last year.

'Lazarus' sounds like a missing track lifted from 'Heathen' which is no bad thing at all. The deeply grim lyrics are enough to make a grown man burst into tears. Like the previous two tracks there's very little connection in sound - almost as though they were recorded for different albums. Surprisingly it works really well.

Sue (Or In A Season Of Crime) really gets things going with a stomping, frantic beat and excellent vocals. Quite similar in fact to the vastly underrated 'Earthling' from '97. It gets louder than war itself the nearer it reaches the end.

The undoubted highlight for me is the underwhelmingly named 'Girl Loves me'. This sounds like it was recorded for the middle segment of 'Outside' from '95. The expletives are all the more unsettling in that he passed away on Sunday whilst singing 'Where the f*ck did Monday go. This tune is a million miles away from anything on 'The Next Day' which in hindsight just appears to be a clearing of the decks for what was to follow.

'Dollar Days' displays that pastoral green fields of England thing that Floyd did so well in the early 70's. It's a lovely tune with Bowie crooning away just like in the good old days.

There's a harmonica intro in 'I Can't Give Everything Away' that has been directly lifted from "A New Career in a New Town' in '77's 'Low'. It doesn't matter- the tune is beautiful. An almost perfect sendoff that could have been lifted from 'Black Tie White Noiise' but in a far more subtle manner.

Believe me - I don't give out 5 stars lightly. If an album deserves to be blown to pieces by a Howitzer, Im the man to do it. 'Blackstar' exceeded my expectations enormously. After the 'painting by numbers' 'The Next Day', this followup 'Blackstar' is just experimental enough to not alienate listeners. It's an album which displays an invention and creativity amidst a world of music that has come to bore me senseless during this decade. It's a thing of beauty that I just wish he'd recorded 20 years earlier.

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 Live in Santa Monica'72 by BOWIE, DAVID album cover Live, 2008
3.40 | 16 ratings

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Live in Santa Monica'72
David Bowie Prog Related

Review by Warthur
Prog Reviewer

4 stars Widely bootlegged before it finally got an official release in 2008, this album captures Bowie plus Spiders on the Ziggy Stardust tour of the US. Slipping in a preview of the next album in the form of Jean Genie, for the most part it's a fast- paced and energetic runthrough of the best of the preceding four albums from Bowie's 1969 self-titled release to Ziggy Stardust itself.

The band are in a rough and ready mood, giving the material a big injection of garage rock that really teases out the proto-punk attitude of the louder numbers and makes the renditions here contrast interestingly with the studio works. Perhaps the biggest deviation comes in the performance of Space Oddity, where wild vocal improvisations take the part of some of the instrumental sections (like the "liftoff" sound) that would have otherwise been tricky to reproduce on stage at the time.

The mix isn't always the best and the band do get sloppy here and there, but there's an undeniable energy to the performances which will win over all but the cloth-eared - and as Bowie notes on the back cover, Mick Ronson was absolutely on fire during this gig.

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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

3 stars With David Bowie's passing the day after this album was released, one is tempted to let emotion rule, and raise the rating for sentimental reasons. However, I left this disc in my CD player, and after many spins, I feel I can step back and give it a less clouded review.

The album to me sounds unfinished. Every track sounds hollow. There is a rhythm track, with drums and bass, and Bowie's vocals. There are some guitars, keyboards and horns, but overall, the production is very empty. My gut tells me that the album was pushed out this way to get it out while the artist was still alive. I compare the sound to any other Bowie album, with rich, lush texturing, and I find it hard to believe that this album's bare sound was the intended result.

The songs themselves are good. Bowie's lyrics are about as dark as they can be (Do you blame him, given the circumstances?). The drums sound out of place, often much too frenetic for the music they are supporting. Again, it makes me feel that the wildness of the drums were meant to support some additional instrumentation that never was completed.

Bowie himself sounds weaker than usual, but had written his parts so that his failing voice could handle the task. And his moaning backing tracks add a lot of eeriness, helped along by splashes of dissonance by the horns, guitars, and string synths.

This is an interesting album. Not great, but not bad. Get it if you like Bowie, or if you just what to honor his memory.

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 Best of Bowie by BOWIE, DAVID album cover Boxset/Compilation, 2002
3.27 | 24 ratings

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Best of Bowie
David Bowie Prog Related

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars This 2016 has started with terrible news regarding music, the one that has affected me the most is David Bowie's death, because I consider him a genius, an artist like no one that changed a lot during his long career, and with all changes he demonstrated he could surprise us with positive and original works. He was always morphing into a new character, new music, new styles and new tendencies. It is difficult to say that a good artist has not been influenced directly or indirectly by David Bowie.

Of course, with his decease, people has been talking more about him and fortunately new generations or even old ones who did not dig his music before are starting to get into David's works, which is the only positive thing these sad news left. This is why I want to review this 2-CD compilation album, because I am a Bowie follower and I would like to suggest his music to you, my prog lovers' friends who visit this site.

Here you will find a chronological selection of representative tunes that offer a magnificent and unique mixture of styles: rock and roll, glam rock, space rock, pop, progressive rock and even electronic. This man managed to create new ways, to erase boundaries so in the end we only focus in one thing: music. Music without labels, David Bowie's music, that's it.

Of course, I've always said that it is better to start digging a band or artist with studio albums, that's undeniable a better way to start, however, with the huge fuzz about him nowadays, I think his legacy could enlighten young musicians and listeners who are willing to share something interesting to the world, so I think this compilation album might be a good place to start for them, and enjoy iconic songs such as "Space Oddity", "Life on Mars?", "Heroes", "Fame", "Fashion", "I'm Afraid of Americans", "Loving the Alien", "The Man Who Sold The World" and much more.

If you find this, don't hesitate and get it, you will not regret. Enjoy it!

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 David Bowie by BOWIE, DAVID album cover Studio Album, 1967
2.41 | 101 ratings

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David Bowie
David Bowie Prog Related

Review by Necrotica
Prog Reviewer

2 stars Chapter I: Trends of the Times

David Bowie. The man, the myth, the legend. A trendsetter. An accomplished multi-instrumentalist. An innovator. A legend of musical and visual reinvention. It seems the world has become a darker place since Bowie's death on January 10, and emotional recollections and tributes regarding his work surfaced all over the world in the wake of his passing. And why not? Of his 25-album career, at least a quarter of that work can safely be considered ground- breaking and legendary in the world of popular music. The Rise of Ziggy Stardust and the Spiders from Mars was a seminal piece of glam rock that gave birth to the iconic titular alter ego, Low and 'Heroes' saw Bowie bringing krautrock and ambient music to the masses, and now we've got his final effort Blackstar combining art rock with jazz in unique and fascinating ways. Why do I bring all of this up? Because it's interesting to think that such a trendsetter had such humble and derivative beginnings.

David Bowie's self-titled debut (not to be confused with his 1969 self-titled effort) is pretty much baroque pop with elements of folk rock and music hall. Right from the first track 'Uncle Arthur,' you can tell that Bowie was heavily influenced by artists such as The Beatles and Pet Sounds-era Beach Boys both musically and vocally around this time. The music hall influences are a lot more prominent here, however, and quite a few songs (most notably 'Rubber Band,' 'Little Bombardier,' and 'Maid of Bond Street') and have brass-based orchestration of some sort. There's an oddly bubbly and whimsical tone to the whole record, even during some of the darkest and most morbid subject matter; most songs sound quite innocent, like the sweetly upbeat and somewhat tongue-in-cheek 'Love You till Tuesday' or the tale of a land children inhabit apart from their elders in 'There Is a Happy Land,' but then there's a song like 'We Are Hungry Men' which talks about infanticide and abortion! Either way, the quirky tone of the album doesn't always mesh well in situations like these. Another problem is that the record sounds so inoffensive and boring during other parts that the songs run together after a while. There's not much variety; when you pick a song from this album, you usually get either of these: a quirky music hall song, a more subdued folk rock number, or a Beatles-influenced baroque pop tune. There's not much beyond that.

However, a few things stand out. First of all, the acoustic guitar playing tends to be fantastic on this album. 'Come and Buy My Toys' is a big highlight in this regard, frequently switching between whimsy and subdued melancholy with the very same instrument (the acoustic guitar is also the only instrument on this song other than the bass). There's also a fair amount of experimentation in a few songs, which would ultimately hint at Bowie's more innovative work. 'Join the Gang' combines a vintage piano sound with a sitar while its tempo creates a generally frantic and energetic atmosphere, and the closer 'Please Mr. Gravedigger' is an oddly somber and minimalistic a cappella number sung over the backdrop of a thunderstorm. If we had more of these songs to break up the general monotony of the cheerier pop/rock numbers, I think this would have been a more interesting and notable release in David Bowie's discography. However, aside from a larger emphasis on music hall elements, this is basically an average baroque pop record that does little beyond what many of Bowie's 60s peers were doing at the time. It's not really a bad record, just not the most interesting album compared to what Bowie could do in the future. Luckily, his next piece of work showcases a huge leap forward in both creativity and distinctiveness as an artist.

(Originally published on Sputnikmusic)

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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by admireArt
Collaborator PSIKE Team

3 stars The Rock world lost one of its truest epitomes.

Besides the obvious reasons to consider this a final masterpiece or an essential part of your collection, I could hardly think of it in neither of those terms, in the same way "The Buddha of Suburbia" or "Black Tie White Noise" both 1993 and "Outside"-1995, are not considered as such, according to the PA's ratings 23 +- years ago . These 3 past David Bowie's works share a common link, music/ style wise, with this "Blackstar", 2016.

The incidental Jazzy/Bowie feel is emminent as in those past albums. In this one his lyrics hold a premonitory poetry which is both detached and personal and music experimentation is reduced to some specific sections, opposite to "The Next Day"-2013, his previous work.

Anyway, in terms of life achievements (in my book, of course), my favorite Bowie releases still remain the same. "Hunky Dory"-1971, "Station to Station"-1976, "LOW"-1977, "Scary Monsters (and Super Creeps)"-1980 and his highly underrated "Let's Dance"-1983.

So it is not irrespect for his passing away, I simply can not overrate this album just because of the obvious reasons. The Rock world lost one of its truest epitomes, on that I do agree!

***3 PA stars.

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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

5 stars When I ordered David Bowie's Blackstar at the end of 2015, I was excited - looking forward to reviewing the album, as my first review of 2016. I was never a big fan of Bowie, until just over a year ago, and it was magical to discover his first 14 albums while getting the announcements of a new album that was 'going to be different than anything he'd done before'. The video for the title track, and the audio track for Lazarus, which only got video added the day before the album was released, certainly showed that Bowie was up to something very new. Electronic music, with a jazzy, avant garde feel to it, and weird images of a blind folded Bowie in the video - indeed things he had never done before.

After getting to hear his 80s work, which I didn't like at all at the time, and discovering his 60s and 70s releases 30 years later, I can only confirm the obvious: Bowie was a chameleon, and very eclectic artist. Writing in past tense here, only a week after the release of Blackstar gives me the shivers. I've never been witness to something as unexpected as Bowie's death, two days after releasing this magical album. Magical, and obviously created by a man who was aware of what was going to happen, but not ready to stop exploiting his own brilliant creativity.

With a lot of things in the world going bad, a lot of discussion was happening about the meaning of Blackstar, when the video was first released. Was it about IS, or about aliens, or something else? Either way, it is dark, electronic track, opening with haunting, twisted vocals in the first part, and a sound that is almost threatening. The switch to a more 'classical' Bowie vocal half way for a few minutes is just fitting, as well as the bit of saxophone at the end. Title track, and opening track to a short musical journey.

'Tis A Pity She Was a Whore, also released as a single earlier is more upbeat, and has the saxophone sound in it from the beginning. With a title like this, it's pretty clear that despite his distinguished looks off late, Bowie was never part of the politically correct establishment - always a rebel. This track is good old Bowie on moderne electronic jazz with a beat, and with his typical knack for lyrics. The almost out of tune sax work is ear catching once again.

On par in terms of darkness and thread with Blackstar, is Lazarus. A slow track that opens with sax, keys and a characteristic bass line. As became clear in the past week, this track was a farewell message from David Bowie to his listeners. Slow, musical and with Bowie's emotional vocals, it gets the message across. His life, his ambitions, his goodby - packed again in typical Bowie lyrical style:

"This way or no way You know, I'll be free Just like that bluebird Now ain't that just like me"

The dark, haunting beat with occasional riffs at the end, with no vocals, makes the listener feel the gap of Bowie being gone.

The opening riff of Sue (Or in a Season of Crime) which follows is a little more rocky, but is soon followed again by the electronic jazz sounds of Donny McLaslin's quartet, a band selected and hired by Bowie for this album. Slow and dark, with an almost danceable pulse, the music carries Bowie's vocal. Singing about a Sue, who has disappeared - without ever getting it clear whether she died or went to another man.

After the closing notes of Sue, Bowie comes in singing something that sounds like a hysterical children's rhyme at first, as a slow beat kicks in. This is Girl Loves Me, which has an almost industrial feel to the music, also due to the vocal effects. After January 10th, the repeating closing line 'Where the [%*!#] did Monday go' is burned in my brain.

Dollar Days is a song that could've fit on one of his 70s albums, it has a great feel to it and features a wonderful saxophone solo by Donny McCaslin. Lyrically, it covers everything gone wrong in the world, if one is prepared to 'listen through the lines'.

The follower I Can't Give Everything Away is possibly another hint at what was going to happen, Bowie singing about something being wrong and not being able to say more. Initially, the music very brielfy hints Tonight, due to the beat, but the saxophone and guitar change it back to fit with the style of the rest of the album. A mesmerising, hypnotic track to close a great album.

David Bowie was a very special artist. He changed styles more often than some people change underwear you could say, and most of it worked. Some artists go on and burn out, a lot go on for too long. Bowie never stopped, just started taking his time, and following time. This time, he managed to show how music can still progress, by mixing electronics, jazz, hip-hop and a hint of his own 70s work. If an artist has to go out on a high, delivering a master piece, David Bowie has shown how to do it here. May he rest in peace and be with us forever.

Dedicated to the memory of David Bowie, a great artist. With a special thank you to my good friend Sonia Mota, possibly his biggest fan ever, for introducing me to his early works, 30 years late.

Also published on my blog www.angelosrockorphanage.com

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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by TerryDactyl

4 stars Finally listened to _*_ for the first time. It's a good latter day David Bowie album: Interesting and adventurous, dark and somehow pleasantly hopeful, but still very, very, very much a latter day Bowie album. I've seen reviews and such claiming it for jazz, but this is no more a jazz album than _Young Americans_ was a soul/funk album or _Station to Station_ was a disco album. If I were to compare it to another Bowie album the most obvious comparison is definitely _Station to Station_ if for no other reason than the layout is so similar. Seven songs, ten minute title track at the beginning, and a certain sonic reboot that is also somewhat like that album. But really it's not like _Station to Station_ at all. There is no "Golden Years" on here nor is there a "TVC15", though the song "Dollar Days" reminds me somewhat of "Word on a Wing." The last song "I Can't Give Everything Away" feels sort of like something mistakenly left off the Labyrinth soundtrack and I swear "Lazarus" (when heard to hear instead of watching the video) sounds quite a bit more like The Cure than I am comfortable admitting. Overall, I'd say four black stars on first listen for this, and it might grow on me more in time as I've barely scratched the surface of it, for it is very black! One thing that I do want to point out, however, is that though he was ill while making _*_ it is neither a work of sorrow and despair nor some sort of ascended triumph over death. _*_, like death itself, simply is and as an artistic vision, exploration, concept, it is excellent.

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 The Rise And Fall Of Ziggy Stardust And The Spiders From Mars by BOWIE, DAVID album cover Studio Album, 1972
4.19 | 486 ratings

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The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
David Bowie Prog Related

Review by Prog Leviathan
Prog Reviewer

4 stars There are some serious pitfalls waiting for a reviewer expressing opinions on an album like Ziggy Stardust. First, it frequently makes its way onto those "100 Best Rock Albums of All Time" lists, so what the heck can I say that hasn't already been said? Secondly... David Bowie's recent passing makes most readers view this album with rose-colored glasses. So first a bit of background...

My introduction to Bowie was his performance as Jareth, the Goblin King in a fantasy film that is perennially popular with people of my generation. In that film, he's more memorable for his one-liners and epic tights. This makes me predisposed to enjoy him as a persona, but other than the handful of musical numbers he performs in the movie, I'm ignorant of his real skills as a musician. If you're like me - this review is mostly for you.

So what can a newcomer expect with Ziggy? Is it really as good as every one says it is? Probably. Like all music it'll hit some harder than others, but it would be silly to deny that this album is a genuine pleasure to listen to; it's well- crafted, soulfully performed, and filled with interesting songs that shimmer with the slinky vibe of the era.

As a semi-concept album, Bowie's lyrics and storytelling are entertaining, playful, and filled with double-meaning to discover. His voice is passionate, distinct, and uniquely masculine. If you lean towards the approachable side of prog- rock, the strong delivery and choruses of Bowie found throughout this album are first rate.

The songs themselves are highly varied and quite lush. String arrangements abound, and even the "simple" tunes have instrumental gems sprinkled throughout to enjoy. Ronson's guitar is understated, though his soloing is great, and Bolder's smooth bass lines help give the album a lot of that vintage '70's class. There are upbeat rockers, folksy ballads, bluesy throwbacks, sing-alongs that seem to be pulled from a stage musical... all thrown into a playful vaudevillian mix.

The final experience is a real delight. Is it one of the best rock albums of all time? Maybe. It's a product of its time, in the literal and figurative sense in that it represents a phase of Bowie's career. As a prog album it's light in content, but as a piece of music and entertainment it's a first rate addition to any rock fans library.

Songwriting: 4 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5

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 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.53 | 145 ratings

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Blackstar
David Bowie Prog Related

Review by DamoXt7942
Forum & Site Admin Group Moderator

5 stars Let me say that David should have exerted "British Invasion" and "British Innovation" upon people all over the world, and this album "Blackstar" should be called as a real rock one. Like everybody around me, I cannot believe his eternal travel to Heaven, with the album, such a goodbye gift. Unbelievable for me to purchase the album just before getting the sad news, too ... Upon January 11, 2016, I was in no mood to listen to this album because of his regretful passing away, but once the album was set in a CD player ...

From the beginning "Blackstar" I've got immersed in his unbelievably enthusiastic dramatic dreammare-tic rock star. Pretty dark and catastrophic but somewhat competitive and superlative ... cannot express enough for this title track. Quite superb is the vibe of time and space upon the blackstar turf. This track sounds like his verdict against the real world drenched in musical (especially rock) aridity. It might be my fancy, however, he gives me some heartwarming starshine via his magnificent rock energy and life force, with such an inorganic voice electronika. What a novelty, cannot avoid, honest to say.

"'Tis A Pity She Was A Whore" should never let us say safe and sound. Such a madness really. A mass of simply rhythmic footprints are something like a liar. Would David attempt an attack of temptation? Not lyrical but logical rock theatre. As if he would shout this MUST be the British Innovation. As well, his tough intention for the real rock, a spirit of defiance to popularity, can be heard via the following "Lazarus" featuring Donny's hard-edged wind instrument sound bombs. He's in Heaven but in danger, restricted like a king but free like a bluebird ... a colourful song like a delightful hell in a bucket.

One of the most depressive, repressive words for me "Sue (Or In A Season Of Crime)" ... Sue, wonder who you were ... the melody is quite innovative but suppressive (the rhythm sections' quakes and saxophone blows are remarkably vivid and realistic with multi-characteristic shots), and I'm afraid Sue might be a terrible stuff for him, I cannot say in details though. "Girl Loves Me" sounds quite insincere for me. Suggest the scape might be such an irony through his creation. A tad danceable like "Let's Dance" (maybe he would get upset, sorry) but actually the content would show his painful mindscape, I imagine?

Wonder why I feel more of pathos via "Dollar Days", that features lots of "dying" words. David dragged his fragile voices along in this song, via that I cannot help feeling sorrowful, regardless of his death itself. The last "I Can't Give Everything Away" is another pop gem for us. His transparent voice as if forced out of his lips would make us weep. His lyrics are heavy and smokey ... I guess he might raise an important musical warning for younger artists who are wandering around soundscape strategies. "Not wander but walk strictly upon the way you should walk."

Finally let me say again, David is, and will be alive in our "rock" mind forever ... never like to say I'm sad to miss him. Thanks!

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

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