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DAVID BOWIE

Prog Related • United Kingdom


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David Bowie biography
David Robert Jones - Born 8 January 1947 (Brixton, London, UK) - 10 January 2016

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.

⭐ Collaborators Top Prog Album of 2016 ⭐

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...
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Buy DAVID BOWIE Music


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
$18.68
$22.98 (used)
LegacyLegacy
Sony Legacy 2017
$29.38
$24.99 (used)
Hunky Dory (180 Gram Vinyl)Hunky Dory (180 Gram Vinyl)
Limited Edition · Remastered
Rhino/Parlophone 2016
$19.64
$29.38 (used)
BlackstarBlackstar
Explicit Lyrics
Columbia 2016
$6.62
$3.50 (used)
Best of BowieBest of Bowie
Virgin / EMI 2006
$9.96
$2.08 (used)
Aladdin Sane (180 Gram Vinyl)Aladdin Sane (180 Gram Vinyl)
Rhino/Parlophone 2016
$15.86
$29.98 (used)
"Heroes" (2017 Remastered Version)(Vinyl)
Remastered
Rhino/Parlophone 2018
$19.96
$15.99 (used)
Scary MonstersScary Monsters
Parlophone 1999
$5.84
$5.99 (used)
Low (2017 Remastered Version)(Vinyl)Low (2017 Remastered Version)(Vinyl)
Remastered
Rhino/Parlophone 2018
$18.61
$31.70 (used)

More places to buy DAVID BOWIE music online Buy DAVID BOWIE & Prog Rock Digital Music online:

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)

2.48 | 145 ratings
David Bowie
1967
3.35 | 295 ratings
Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music]
1969
4.02 | 374 ratings
The Man Who Sold The World
1970
4.15 | 498 ratings
Hunky Dory
1971
4.23 | 662 ratings
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
1972
3.86 | 359 ratings
Aladdin Sane
1973
3.06 | 198 ratings
Pin Ups
1973
3.60 | 274 ratings
Diamond Dogs
1974
2.82 | 198 ratings
Young Americans
1975
4.01 | 325 ratings
Station to Station
1976
4.08 | 406 ratings
Low
1977
4.05 | 387 ratings
Heroes
1977
3.48 | 221 ratings
Lodger
1979
4.15 | 347 ratings
Scary Monsters (And Super Creeps)
1980
3.16 | 245 ratings
Let's Dance
1983
2.29 | 136 ratings
Tonight
1984
2.21 | 78 ratings
David Bowie & Trevor Jones: Labyrinth (OST)
1986
2.22 | 117 ratings
Never Let Me Down
1987
3.07 | 109 ratings
Black Tie White Noise
1993
3.33 | 77 ratings
The Buddha Of Suburbia (OST)
1993
3.62 | 162 ratings
1. Outside
1995
2.88 | 155 ratings
Earthling
1997
3.43 | 131 ratings
Hours...
1999
3.76 | 174 ratings
Heathen
2002
3.37 | 133 ratings
Reality
2003
3.90 | 199 ratings
The Next Day
2013
4.47 | 347 ratings
Blackstar
2016

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

2.87 | 62 ratings
David Live
1974
3.89 | 79 ratings
Stage
1978
3.93 | 29 ratings
Ziggy Stardust And The Spiders From Mars-The Motion Picture Soundtrack
1983
4.14 | 21 ratings
Santa Monica '72
1994
3.00 | 3 ratings
Rock'n'Roll Suicide
1995
3.85 | 26 ratings
Bowie at the Beeb
2000
3.49 | 24 ratings
Live in Santa Monica'72
2008
4.12 | 38 ratings
A Reality Tour
2010
4.81 | 7 ratings
Cracked Actor (Live Los Angeles '74)
2017
0.00 | 0 ratings
Live Nassau Coliseum '76
2017
5.00 | 1 ratings
Welcome to the Blackout (Live London '78)
2018
3.92 | 6 ratings
Glastonbury 2000
2018

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

3.60 | 20 ratings
The Best of Bowie
2002
3.86 | 7 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
4.00 | 1 ratings
Images 1966 - 1967
1973
3.61 | 25 ratings
ChangesOneBowie
1976
3.97 | 21 ratings
Soundtrack Christiane F. - Wir Kinder Vom Bahnhof Zoo
1981
3.83 | 6 ratings
Changestwobowie
1981
4.00 | 1 ratings
Rare
1982
2.05 | 3 ratings
Fame and Fashion (David Bowie's All Time Greatest Hits)
1984
3.34 | 10 ratings
Sounds + Visions
1989
4.60 | 10 ratings
Changesbowie
1990
3.54 | 24 ratings
The Singles Collection
1993
4.75 | 4 ratings
The Singles 1969 to 1993
1993
2.72 | 9 ratings
The Deram Anthology 1966-1968
1997
4.00 | 6 ratings
London Boy
1998
4.67 | 3 ratings
The Best of David Bowie 1969/1974
1998
4.67 | 6 ratings
The Best of David Bowie 1974/1979
1998
4.00 | 5 ratings
All Saints (Collected Instrumentals 1977 - 1999)
2001
3.41 | 31 ratings
Best of Bowie
2002
3.60 | 5 ratings
The Collection
2005
4.50 | 2 ratings
The Platinum Collection
2005
4.03 | 10 ratings
The Best Of David Bowie 1980/1987 (CD + DVD)
2007
4.00 | 4 ratings
iSelect
2008
4.71 | 7 ratings
Nothing Has Changed
2014
5.00 | 4 ratings
Bowie Legacy
2016
3.00 | 1 ratings
Loving the Alien (1983 - 1988)
2018
0.00 | 0 ratings
Mercury Demos
2019

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

0.00 | 0 ratings
Liza Jane (as Davie Jones with The King Bees)
1964
0.00 | 0 ratings
I Pity the Fool (The Manish Boys)
1965
0.00 | 0 ratings
You've Got a Habit of Leaving (as Davy Jones)
1965
0.00 | 0 ratings
Rubber Band
1966
0.00 | 0 ratings
Can't Help Thinking About Me
1966
0.00 | 0 ratings
Do Anything You Say
1966
0.00 | 0 ratings
I Dig Everything
1966
0.00 | 0 ratings
Love You Till Tuesday / Did You Ever Have a Dream
1967
0.00 | 0 ratings
The Laughing Gnome
1967
0.00 | 0 ratings
Rubber Band (US version)
1967
4.73 | 7 ratings
Space Oddity / Wild Eyed Boy from Freecloud
1969
3.40 | 10 ratings
Memory Of A Free Festival
1970
0.00 | 0 ratings
Ragazzo Solo, Ragazza Sola
1970
0.00 | 0 ratings
All the Madmen
1970
0.00 | 0 ratings
The Prettiest Star
1970
0.00 | 0 ratings
Holy Holy
1971
0.00 | 0 ratings
David Bowie / Dana Gillespie
1971
3.16 | 6 ratings
Starman / John, I'm Only Dancing
1972
3.78 | 4 ratings
Changes / Andy Warhol
1972
0.00 | 0 ratings
The Jean Genie
1972
0.00 | 0 ratings
Starman / Suffragette City
1972
4.04 | 5 ratings
Time / The Prettiest star
1973
0.00 | 0 ratings
Let's Spend the Night Together
1973
3.00 | 1 ratings
Sorrow / Amsterdam
1973
0.00 | 0 ratings
Life on Mars?
1973
0.00 | 0 ratings
Drive-in Saturday
1973
0.00 | 0 ratings
Knock on Wood
1974
0.00 | 0 ratings
Rock 'n' Roll Suicide
1974
0.00 | 0 ratings
1984
1974
4.00 | 4 ratings
Rebel Rebel
1974
0.00 | 0 ratings
Diamond Dogs
1974
4.00 | 3 ratings
Young Americans / Suffragette City
1975
0.00 | 0 ratings
Fame
1975
0.00 | 0 ratings
Golden Years / Can You Hear Me
1975
0.00 | 0 ratings
TVC 15
1976
0.00 | 0 ratings
Stay
1976
0.00 | 0 ratings
Be My Wife
1977
0.00 | 0 ratings
Heroes
1977
3.50 | 4 ratings
Sound and Vision / A New Career in a New Town
1977
0.00 | 0 ratings
Beauty and the Beast
1978
0.00 | 0 ratings
Breaking Glass
1978
0.00 | 0 ratings
Boys Keep Swinging
1979
0.00 | 0 ratings
D.J.
1979
4.00 | 1 ratings
John, I'm Only Dancing (Again)
1979
0.00 | 0 ratings
Alabama Song
1980
0.00 | 0 ratings
Fashion
1980
4.20 | 5 ratings
Ashes To Ashes
1980
0.00 | 0 ratings
Scary Monsters (and Super Creeps)
1981
4.00 | 12 ratings
David Bowie In Bertolt Brecht's Baal
1982
3.60 | 5 ratings
Cat People (Putting Out Fire)
1982
0.00 | 0 ratings
Modern Love
1983
0.00 | 0 ratings
Let's Dance
1983
0.00 | 0 ratings
China Girl
1983
0.00 | 0 ratings
Tonight
1984
2.33 | 5 ratings
Blue Jean
1984
0.00 | 0 ratings
Loving the Alien
1985
0.00 | 0 ratings
Man in the Middle (Arnold Corns A.K.A. David Bowie and The Spiders from Mars)
1985
3.81 | 7 ratings
1966 (Aka 'I Dig Everything: The 1966 Pye Singles)
1989
3.08 | 7 ratings
Jump They Say
1993
0.00 | 0 ratings
Earthling in the City
1997
0.00 | 0 ratings
Liveandwell.com
2000
0.00 | 0 ratings
John, I'm Only Dancing
2012
4.11 | 9 ratings
Where Are We Now?
2013
4.11 | 9 ratings
The Stars (Are Out Tonight)
2013
3.77 | 19 ratings
No Plan
2017

DAVID BOWIE Reviews


Showing last 10 reviews only
 Sorrow / Amsterdam by BOWIE, DAVID album cover Singles/EPs/Fan Club/Promo, 1973
3.00 | 1 ratings

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Sorrow / Amsterdam
David Bowie Prog Related

Review by Matti
Prog Reviewer

— First review of this album —
3 stars Aladdin Sane, probably my favourite album of David Bowie, was followed within the same year by one of his least notable albums ever, an all-covers release Pin-Ups. Haven't heard it completely, for frankly I'm not very interested in it. Bowie covers songs of e.g. Pink Floyd ('See Emily Play', easily the most interesting one), The Who and The Easybeats: in most cases such early/mid-60's pop songs I've never been very keen on. 'Sorrow' was originally a hit for The Merseys in 1966. I'm not sure if I've actually heard the original, but I can imagine it being faster and sounding notably different from Bowie's soulful and hurriless version. Not highly memorable song to start with, but the cover is done with a good taste and it feels as if Bowie might have written the whole thing himself. His vocals fit to the song very well.

However, the flipside song of this single is much more interesting, and not only because it didn't appear on Pin-Ups (or on any of Bowie's albums). Belgian-born Jacques Brel was a master songsmith of the chanson -- many of his songs were succesfully covered by the late Scott Walker. 'Amsterdam' is one of Brel's most powerful songs. The vivid, cinematic lyrics are very much the raison d'etre for the whole song, which demands for a raw, ripped-down and heart-breaking performance from the singer. And that's exactly what Bowie does. His vocals are backed by acoustic guitar only, but he really makes the seedy scenes from the port of Amsterdam come alive. Both the spirit of Jacques Brel's original is captivated perfectly and Bowie puts his own heart & soul into it. Definitely not a song for casual or often repeated listening, but a song that makes one's hair stand, if the listener is in the right mood.

 Station to Station by BOWIE, DAVID album cover Studio Album, 1976
4.01 | 325 ratings

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Station to Station
David Bowie Prog Related

Review by TCat
Collaborator Eclectic Team

5 stars Many critics agree that 'Station to Station', David Bowie's 10th studio album, was one of his best, and I have to agree. Even though it was finished before he started work on the movie 'The Man Who Fell to Earth', there is a lot in this album that was inspired by that movie, including Bowie's performance character Thin White Duke. The album even features a still from the movie, where Bowie's character is entering the space ship that will take him back home. It was also a time when Bowie was abusing Cocaine and living off of a diet of peppers and milk, and he later claimed that he recalled nothing of the production sessions because he was always high.

The album reflects Bowie's obsessions of the time, namely with Crowley, Nietzsche, mythology and religion. The lyrics in the album prove all of this. The album was also important because it marks a transitional period in Bowie's music, which saw a lot of style mixing involving danceable funky music with the music of electronic bands like Neu! And Kraftwerk. The album was the 'gateway' to Bowie's 'Berlin Trilogy' which was recorded with Brian Eno between 1977 ' 79. Shortly after the release of Station to Station and with the culmination of all of Bowie's paranoia (which included a fear of Jimmy Page), Bowie decided to give up his bad habits of drug abuse.

The album also got him into trouble because of the character he created, the persona he put on during his concerts and in interviews. The Thin White Duke was not a pleasant persona, and the statements Bowie made while playing the role got him into trouble because it dealt with the character's views on Hitler. Bowie later said that the character was a 'nasty' person. Bowie eventually retired the character quietly.

The original album ended up with a total 6 tracks and a run time of just under 38 minutes. Every one of the tracks on the album ended up being released as a single of some sort along the way. Beginning with the title track 'Station to Station', Bowie presents his longest studio recording at over 10 minutes. Bowie stated that the song is about the Stations of the Cross, but the lyrics hint at Crowley, Kabbalah and Gnosticism. The lyrics also reference the Thin White Duke. It was released as a promo single in France, but edited way down to 3:40, and the track TVC 15 was the b-side. It begins with the sound of a train increasing speed, which is then copied by a droning guitar and a rhythm that increases in speed which is created by piano chords and drums, and the music continues to speed up. In the background, you can hear the famous harmonica riff that underlies the track. The track settles in at a moderate tempo and Bowie's warbly vocals start. After 5 minutes, the music suddenly becomes more upbeat as a new melodic section is introduced, and Bowie's vocals continue with hardly a pause. The 2nd part of the song continues in the upbeat, danceable manner for the remainder of the song.

'Golden Years' has the distinction of being the first track recorded for the album. It is also one of Bowie's most famous tracks. At one point, this was going to be the album's title track. The track is a funkier track than most of the other tracks on the album, more reminiscent of the previous album 'Young Americans'. The song was inspired by the topic of the song 'On Broadway' and has a lot of the same feel. Bowie was actually playing 'On Broadway' when he came up with the song. Bowie wanted Elvis Presely to perform it, but he declined. The song was the first single from the album, and it was quite successful and has been used in several TV series and movies.

'Word on a Wing', according to Bowie, was a revolt against some of the elements he was uncomfortable with in the filming of 'The Man Who Fell to Earth', and he wrote it in a depressed state. The vocals are quite emotional, and Bowie says that there is a real emotional attachment for him to the song, that the passion there is genuine. The song was edited and released as a b-side to 'Stay' in July of 1976. Where on the song 'Golden Years', Bowie was singing about his strong beliefs, in 'Word on a Wing' he is singing about the doubts he was beginning to have about his blind faith.

'TVC 15' was inspired by an incident when Iggy Pop hallucinated that the TV was swallowing his girlfriend while he was partying at Bowie's house. The song was released as the 2nd single from the album, but was more of a minor hit for him. The lyrics talk about wanting to crawl into a holographic TV so that the narrator can find his girlfriend, who crawled in before him. The melody is quite catchy as is the overall track, accentuated by mostly piano improvisation. The chorus is quite memorable, even though it is a bit quirky. The b-side to this single was a track from the previously released 'Diamond Dogs' album, 'We Are the Dead'.

'Stay' is based off of a funky guitar riff and a 'Shaft'-like feel with r&b rhythms, thick mellotron and percussion. The song was also released as a single, again in an edited version. It was also a minor hit in the US with 'Word on a Wing' as it's b-side. The song also is reminiscent of Bowie's own song 'John, I'm Only Dancing (Again)'. The song also has the most memorable guitar riff on the album. The beat is solid and infectious.

'Wild is the Wind' was originally recorded and written for Johnny Mathis and has been covered many times by a wide array of artists. Bowie's version is to a moderate rhythm and also contains one of his most heart-felt performances. It was released to help promote the compilation 'Changestwobowie' along with 'Golden Years' a few years later, thus allowing that every song on this album was released on a single.

This album was released before the production of 'The Man Who Fell to Earth' was finished, and Bowie hoped to be able to write the soundtrack to it. However, he was told by the producers, that his music would have to be considered along with all of the other submissions. Bowie got very upset and gave up working on the soundtrack, and then toured to support this album.

After all these years, the album is recognized as one of Bowie's best and most important albums as it marks the entry into his most influential and creative periods, but it also seen him break out of his addictions. For me, this is an essential album as it shows Bowie's transition and entry into his most creative period, but also because of the influential sounds of the album which would go on to influence punk and post-punk, not to mention several new wave bands and glam rock bands in the future. While it is true it might not be strong in it's progressive traits, I feel it is important especially as one who feels that progressive rock does also encompass other glam rock bands such as Queen and Roxy Music, not to mention early Genesis. So, I don't have any problems rating certain important Bowie albums such as this one at 5 stars.

 No Plan by BOWIE, DAVID album cover Singles/EPs/Fan Club/Promo, 2017
3.77 | 19 ratings

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No Plan
David Bowie Prog Related

Review by thesimilitudeofprog

3 stars The No Plan EP is, undoubtedly, a curious addition to Bowie's tremendous catalog. Appearing almost exactly a year after Bowie passed away. It is understandable that many will consider it a parting gift from the Bowie. Depending on what you think about that, the value of No Plan changes accordingly. No Plan is a powerful EP with moving songs and is a worthy addition to Bowie's catalog. No Plan is a separate entity to Blackstar in that it offers more to his family than fans. Blackstar's track order has always reflected the seven stages of grief to me.

The EP opens with "Lazarus"which has overtures of his forthcoming death ? perhaps but only because we now know Bowie was close to his own demise when he recorded it.The opening lyrics "Look up here, I'm in heaven" will pull at the heart strings of his fans, or anyone for that matter. This track is both touching and moving. It is clear that, when planning this EP out, Bowie knew he would have passed at the time of it's release. The title track 'No Plan' is a hauntingly beautiful message from the other side. The strong, melancholic sax solo is very moving and - the lyrics 'There's no music here, I'm lost in streams of sound" and "Oh, of the things that are my life, my moods, my beliefs, desires, me alone, nothing to regret; here is my place without a plan" speak of a spiritual side to Bowie. The last two tracks, 'Killing A Little Time' and 'When I Met You', are much more upbeat and rock-oriented. The soundscapes of both tracks feel more like cuts from The Next Day to me than they do from Blackstar. "Killing a Little Time" is a great rock tune. The lyrics paint a picture of many emotions and the vocals are a great contrast to the slower tracks on No Plan. The abrasive quality of the music is appealing and engaging on a deep level, and the off-center sax solo under the vocal lines along with the independent melodic lines rhythms provided by the percussion is clever and superbly placed to make this something of an epic number. "When I Met You" begins with a steady, heart beat-like rhythm and develops into a poppy number reminiscent of many of David Bowie's great hits. It opens with the lyrics "You knew just everything but nothing at all; now the moon is dark, feels like pain again" lines that point to unspoken love. A great track and very Bowie! "When I Met You" really shows the purpose of this EP. It is a moving love song that, without ever using the word love once, conveys the message of life-changing affection clearly. While much of Blackstar's material could be perceived as a gift to the fans, 'When I Met You' is Bowie's present to his wife, Iman. There was little on Blackstar that could be related to Iman, so the No Plan EP serves as a beautiful consolidation of their years together.

No Plan is a powerful EP with moving songs and is a worthy addition to Bowie's catalog. No Plan should be treated as a separate entity to Blackstar. It offers more to his family than fans, but it is still an important ? and enjoyable ? listen for everyone. No Plan can be appreciated as a standalone EP and is a brilliant supplement to 2016's Blackstar.

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.08 | 406 ratings

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Low
David Bowie Prog Related

Review by thesimilitudeofprog

4 stars Low is the eleventh studio album by David Bowie, released on January 14 1977. Recorded following Bowie's move to West Berlin after a period of drug addiction and personal instability. Low became the first of three collaborations with musician Brian Eno and producer Tony Visconti, later termed as the "Berlin Trilogy". The album was in fact recorded largely in France, and marked a shift in Bowie's musical style toward an electronic approach that would be further explored on subsequent albums "Heroes" and Lodger.

'Speed of Life' opens the album with an instrumental, the music is very intense. Even though the song is rather simple and repetitive, it makes an immediate implication about the content of the album and its heavy use of synthesizers as both effects and instruments. The next one, 'Breaking Glass', is the shortest track on the album. It starts with a pretty chaotic guitar, it fits well with the character it depicts, a person who seems messed-up. The lyrics might suggest that Bowie now wants to distant himself from people that are bad influences (Angela Bowie & Michel Lippman). Another short song follows, 'What in the World', and once again it seems to depict an unusual relationship between two people. As for the music, it feels very frantic. Up Next is the first single from Low 'Sound and Vision' which finds Bowie using his room as a sanctuary while waiting for artistic inspirations to strike him. Undoubtedly one of Bowie's best songs. Following Sound And Vision is 'Always Crashing in the Same Car', a slower and more serious song, outlining the darker things Bowie was writing about during the recovery from his cocaine addiction. The song foreshadows the more solemn, darker mood of side two. The second single from Low 'Be My Wife' sounds like a last-minute plea for Angela Bowie. By this point, their marriage was in ruins. They would divorce in 1980. 'A New Career in a New Town' is about as good of an approximation to what looking ahead to the future with optimism and hope feels like that you'll hear in a song. 'Warszawa' is best described as cold, dark and oppressive, combined with incredible feelings of anxiety, mystery and loneliness all at once. Very Atmospheric. 'Art Decade' contains the most beautiful melodies I've ever heard. It's a laid back tune and quite melancholic. 'Weeping Wall' follows, the xylophone played by Bowie gives the song its unique sound. It also features very chaotic guitar through the song. Low Closes with ''Subterraneans', which is mostly instrumental, but does contain a vocal section which is a string of unrelated English words. Bowie wanted to focus not on the meaning, but the sound of words for this song.

Low is a masterpiece, though it takes some listening to unlock. While much of the first half is surprisingly commercial sounding, the second half is completely overwhelming and is an emotionally draining experience which rewards the listener after repeated and careful listens. Low is a timeless masterpiece to cherish.

 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.47 | 347 ratings

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Blackstar
David Bowie Prog Related

Review by mariorockprog

4 stars 4.25: The final album by Bowie, was intended to be the swan song (a belief that the swan before die they sing a beautiful song, and in this context will be the last effort and gesture for the fans by Bowie) before his dead, as he described it would be nothing that he have done previously and it certainly accomplish that. Two days after his release he died by cancer, but he knew that the album was critically acclaimed and a commercially success. It begins with a very progressive song, and really good it is speaking about his actual dead, a theme that will be touched in mostly all the album. In general the album conserves the Bowie style of using very deep meaning and metaphorical lyrics. Musically it is a very jazzy and progressive album, it has a lot of elements never seen by Bowie. However, something that I noticed, is that his voice and enthusiasm was not at his best moment for obvious reasons, but was a good performance in general. A very good album that incorporate mostly jazz and some prog elements that any prog listener will enjoy.
 The Rise And Fall Of Ziggy Stardust And The Spiders From Mars by BOWIE, DAVID album cover Studio Album, 1972
4.23 | 662 ratings

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

Review by mariorockprog

5 stars 4.5 Is the fifth studio album of David Bowie in collaboration with his backing band th spiders from mars. The concept of the album is based in a bisexual rockstar that acts as a messenger for extraterrestrial beings. Its name is Ziggy Stardust and it is influenced by the Glam rock culture and explore controversial themes, also he want to change the world with his rock n roll style. A very consistent album and although the music is nothing spectacular it is well balanced adding different rhythms and changes in thematic with every song, their quality of the music never falls, but it has a lot of ups. Lyrically is excellent, it is a very strange history but funny and the same time, also with some metaphors. A very good album that any prog collector will enjoy.
 Glastonbury 2000 by BOWIE, DAVID album cover Live, 2018
3.92 | 6 ratings

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Glastonbury 2000
David Bowie Prog Related

Review by Warthur
Prog Reviewer

4 stars Subtitle this one "Memory of an Expensive Festival". David Bowie's nostalgic Glastonbury set of 2000 was broadcast by the BBC, so bootleg versions of it have knocked about for a while. Still, it's nice to get an official, cleaned-up version of this release. Bowie had been averse to playing much of his early back catalogue live for some years prior to this, but returning to the festival some decades after his initial appearance must have put him in a reminiscent mood, because the set by and large is a tour through most of his greatest hits.

From the running order, you'd think that Bowie had spent a decade in seclusion after doing the Absolute Beginners soundtrack; the only newer songs represented on the setlist are Hallo Spaceboy, Little Wonder, and I'm Afraid of Americans, decent enough examples of Bowie's recent work but a little incongruous in an otherwise classic rock-styled set. The delivery's also a bit different from the glam rock roar or the dark art rock stylings of classic Bowie gigs of the 1970s, or even the high theatricality of his 1980s tours. This is a festival, after all, and an airing of songs that Bowie had left on the shelf for a little while, so the delivery tends to be a bit more upbeat and anthemic.

As for the performances themselves, the recording unfortunately doesn't capture the backing singers as well as it could but otherwise the band's sounding great, which is good because Bowie himself is not at peak performance. Whilst he soldiers on and puts in a credible performance, he admits to being a bit under the weather and jokingly pleads with the audience to pitch in and cover for him if he loses his voice at one point. Indeed, his banter with the audience reveals him to be in a decidedly cheerful mood, which I suppose is in keeping with the generally cheerful delivery of the material here.

It says a lot about the depth of Bowie's back catalogue that he can make a set of 22 classic songs, the vast majority of which have a strong claim to belong in any "best of" compilation of his, and yet he doesn't have to resort to rehashing Space Oddity yet again (a song he'd become sick enough of that, even though he took the rest of his old toys out of the closet to play with again, he left it on the shelf). The setlist really doesn't suffer for it. I wouldn't put this in the top rank of Bowie live releases - particularly considering some of the delicious 1970s archival live sets that have been coming out lately - but if you wanted evidence of late-period Bowie still being able to hack it in a live context, you've got it right here.

 Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music] by BOWIE, DAVID album cover Studio Album, 1969
3.35 | 295 ratings

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

Review by Matti
Prog Reviewer

3 stars It took David Bowie quite a long time to rise to the top of the pop world. His naiive debut album from 1967 is rather outdated. This second album also was originally without a specific title, but due to the success of the song 'Space Oddity', it is nowadays known by that name. Even though the wonderful and at the time very topical song about astronaut Major Tom is among Bowie's best known and most beloved evergreens, the album as a whole doesn't enjoy the similar high status. Listener who expects to get more songs with such charm and commercial potential will probably be disappointed. But as the ratings prove, this album certainly has its strengths that place it firmly in the good middle league in Bowie's vast discography.

Some songs are frankly pretty forgettable (while I'm writing this without the album playing, and months since the last time I listened to it, I have very thin memories of e.g. 'Unwashed and Somewhat Slightly Daze' or 'An Occasional Dream'). 'God Knows I'm Good' I do remember well, but only because it's so simple and repetitive, and therefor a weak effort. Brief 'Letter to Hermione' is a nice acoustic ballad, and 'Janine' is compared here to Bob Dylan's folk period. The 9½-minute 'Cygnet Committee' is undoubtedly a highlight from the prog listener's point of view, and also 'Memory of a Free Festival' has an interesting feel of an epic, even though the repetition of the line "Sun machine is coming out / and we're gonna have a party" lasts a bit too long in the end. But my favourite besides 'Space Oddity' (which I love!) is 'Wild Eyed Boy From Freecloud', a masterful blend of fine vocals, moving lyrics and beautiful elegance of the orchestral arrangement.

This album shows Bowie in the early phases of his slow and gradual progress of becoming one of the leading singer-songwriters in pop/rock, but with at least one foot in the folk territory and some late-sixties' psychedelic scent still lingering in the air. It was followed by the relatively hard rocking The Man Who Sold the World (1970), which introduced Bowie's central collaborator Mick Ronson and is generally seen as the beginning of his classic era. However, I personally enjoy Space Oddity more. In some ways the folky charm and the arrangement excellence on certain highlights of this album point towars (and perhaps occasionally even beat) seminal Hunky Dory (1971) -- which of course is a clear winner when it comes to multi-style song-writing.

 Never Let Me Down by BOWIE, DAVID album cover Studio Album, 1987
2.22 | 117 ratings

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Never Let Me Down
David Bowie Prog Related

Review by Warthur
Prog Reviewer

2 stars Not even Bowie himself was keen on the original version of Never Let Me Down; as he explained it, he wasn't really feeling engaged at the time and didn't really pay that much attention to the production, with poor results - in particular, the drums from Erdal Kizilçay are entirely too intrusive. According to Reeves Gabriels, Bowie wanted a do- over on some of the songs almost as soon as the album had come out, but eventually decided that it was a bit too soon.

However, Bowie kept toying with the idea of revising the album, and completed a radically reworked version of Time Will Crawl as a taster for the project. He never got around to doing the rest of the songs before he died, but in early 2018 Gabriels assembled a team of Bowie collaborators to produce a brand-new version of the album which was a bit more worthy of the Thin White Duke's legacy, following the lead of the reworked TIme Will Crawl and what else was known about Bowie's intentions for the do-over.

Having emerged on the Loving the Alien boxed set, Never Let Me Down 2018 is pretty decent - we can certainly hope it will see a separate release soon, and it'd be a good thing if it displaced the original album altogether. In particular, that intrusive drum sound is toned down remarkably, allowing the intros to songs like Time Will Crawl to finally breathe. So, tack on an extra star and a half if you're looking at that version - but as far as the bungled original goes, avoid.

 Tonight by BOWIE, DAVID album cover Studio Album, 1984
2.29 | 136 ratings

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Tonight
David Bowie Prog Related

Review by Warthur
Prog Reviewer

3 stars This is almost, but not quite, another covers album for Bowie - and also a bit of an uncredited collaboration with Iggy Pop. Of the five cover songs on this, three of these are of Iggy tracks - and sure, Tonight and Neighborhood Threat were originally cowritten by Pop and Bowie for the Lust For Life album, but Don't Look Down is from New Values, proving that Bowie had kept up with Iggy's career even after their careers had gone in different directions for a bit.

In addition, Pop co-writes Tumble and Twirl and Dancing With the Big Boys, the latter of which he guests on. On the whole, then, the album is a bit of a reunion, laying the groundwork for what would be Pop's most commercially successful (and most hook-laden) album of the 1980s, Blah Blah Blah.

However, it really doesn't sound that way - for better or worse, Bowie gives about as un-Iggy-ish a spin as he can to a lot of the material. Take, for instance, the reggae-inflected take on Tonight, or the torch song version of the Beach Boys' God Only Knows - or the epic album opener Loving the Alien, a brief glimmer of Bowie's old alien art rock stylings.

On the whole, it's a pleasant enough listen, but don't expect grand things of it: it's not quite one thing or another and as such is best approached as a collection of fun songs, not as a cohesive album.

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

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