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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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DAVID BOWIE discography


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

2.46 | 144 ratings
David Bowie
1967
3.34 | 303 ratings
Space Oddity [Aka: David Bowie, Man Of Words/Man Of Music]
1969
4.02 | 378 ratings
The Man Who Sold The World
1970
4.17 | 506 ratings
Hunky Dory
1971
4.24 | 678 ratings
The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
1972
3.84 | 365 ratings
Aladdin Sane
1973
3.05 | 196 ratings
Pin Ups
1973
3.59 | 273 ratings
Diamond Dogs
1974
2.82 | 198 ratings
Young Americans
1975
4.01 | 329 ratings
Station to Station
1976
4.09 | 411 ratings
Low
1977
4.04 | 392 ratings
Heroes
1977
3.47 | 222 ratings
Lodger
1979
4.15 | 351 ratings
Scary Monsters (And Super Creeps)
1980
3.17 | 245 ratings
Let's Dance
1983
2.28 | 137 ratings
Tonight
1984
2.22 | 78 ratings
David Bowie & Trevor Jones: Labyrinth (OST)
1986
2.21 | 117 ratings
Never Let Me Down
1987
3.07 | 109 ratings
Black Tie White Noise
1993
3.32 | 78 ratings
The Buddha Of Suburbia (OST)
1993
3.62 | 162 ratings
1. Outside
1995
2.87 | 153 ratings
Earthling
1997
3.41 | 130 ratings
Hours...
1999
3.74 | 175 ratings
Heathen
2002
3.36 | 134 ratings
Reality
2003
3.88 | 200 ratings
The Next Day
2013
4.50 | 361 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
4.12 | 21 ratings
Santa Monica '72
1994
3.00 | 3 ratings
Rock'n'Roll Suicide
1995
3.81 | 27 ratings
Bowie at the Beeb
2000
3.48 | 24 ratings
Live in Santa Monica'72
2008
4.11 | 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 | 2 ratings
Welcome to the Blackout (Live London '78)
2018
3.92 | 7 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
3.53 | 24 ratings
The Singles Collection
1993
4.75 | 4 ratings
The Singles 1969 to 1993
1993
2.74 | 10 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
3.39 | 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
Starman / Suffragette City
1972
0.00 | 0 ratings
The Jean Genie
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
4.00 | 1 ratings
Earthling in the City
1997
4.00 | 1 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
3.00 | 1 ratings
Is It Any Wonder?
2020

DAVID BOWIE Reviews


Showing last 10 reviews only
 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.50 | 361 ratings

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Blackstar
David Bowie Prog Related

Review by iluvmarillion

5 stars As most everybody knows David Bowie completed this album in the last year of his life. The album was assembled using a talented group of jazz musicians with Bowie's long time producer Tony Visconti to lay down the 7 tracks and 40 minutes of music. Bowie is not only a musician/ songwriter but also a performance artist who made a video timed to be released with the album which is as much part of the album as the album itself.

Bowie incorporates elements of his demise into the music and while designed to be dark and moody there are enough changes in pace to make it interesting while never venturing into the macabre. The opener Black Star sets the dark tone with lots of keys and synths and what appears a single kettle drum and background sax. The pace picks up with Tis A Pity She Was A Whore which I think is the best track. This time the sax leads with voice trailing off at the end. Lazarus is the second longest track with a slow moving riff which has Bowie looking down on the world and reflecting on his life. Drums and sax swap lead with electric guitar coming in at the end. Girl Loves is one more highlight with a slow repeating theme which suddenly picks up then dies away. Dollar Days features some more superb sax playing. I Can't Everything Give Everything Away leads to a bright finish and is David Bowie's last statement to the world.

There is not one note out of place in this, David Bowie's final album. The world has too few artists and we just have to lament his loss and treasure the music that he gave us. There may be better song writers/ musicians than David Bowie. There may be better performance artists than David Bowie. There may be better albums than Black Star. However there is only one David Bowie.

 Hunky Dory by BOWIE, DAVID album cover Studio Album, 1971
4.17 | 506 ratings

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Hunky Dory
David Bowie Prog Related

Review by Kempokid
Collaborator Prog Metal Team

5 stars Often when people are asked to point to David Bowie's first truly amazing album, Hunky Dory is the one that gets mentioned, for reasons that are quite esay to see once giving it a listen. What we've got here is an album that took the grandiose anthems of the previous couple of albums and then ups the ante even further, with countless hooks everywhere underpinned by some remarkable variety in terms of tone and overall feel. This ultimately provides a listening experience that's far more consistently engaging while also having some incredible highlights that still remain some of Bowie's greatest work.

When talking about these highlights, the unforgettable Changes and Life On Mars? are the ones likely to immediately come to mind, and for great reason. With Changes, while the verses are all around well constructed, it's the iconic chorus that really seals this as such a wonderful song, the wonderful escalating flourish of strings right before it erupts into such a simultaneously upbeat, yet wistful feeling burst of energy being charming no matter how many times you've heard it. Life On Mars on the other hand takes a far more grandiose approach, where every moment of the song is leading up to the awe inspiringly climactic chorus. While the melody of the verses is somewhat repetitive, the key changes give it the constant feeling of escalation that makes the song as memorable as it is. In terms of a couple of other songs that are particularly noteworthy, you've got Oh You Pretty Things, which is a similarly fun and infectious track with a very upbeat sound that manages to be outstanding once again based mostly around the charm and amazing melody that Bowie is able to create to such an effective degree. The biggest outlier on the album, yet one of very high quality, is Queen Bitch, which is not only far more energetic, but utilises a more abrasive guitar tone, which when combined with the more sarcastic vocal delivery that Bowie provides on this track, makes this sound very much like a Velvet Underground song. Not only does this bring some freshness to the album, but it's a blast to listen to.

While Hunky Dory likely contains some of the highest highs in David Bowie's career however, it's definitely another very inconsistent album, and one that's extremely top heavy, with most of side A being noticeably better than the second half of this, with the exception of the inconsequential, forgettable Eight Line Poem. It definitely feels like this side of the album was dedicated to the quirkier cuts of the album, and this works to varying degrees of success, as while the majority of these songs are very good, they don't really compare for the most part to the breathtaking highlights of the first half. What makes this less of a problem for the album is that when I listen to songs like Andy Warhol and The Bewlay Brothers without thinking about the masterpieces that came before, they really do reveal just how great they are in their own right, ultimately revealing this to be an album largely composed of amazing tracks, just with some being on a higher calibre.

It's really easy to see why many people consider this album to be one of David Bowie's absolute greatest, given how many stunning moments this has spread throughout, with the filler still for the most part having some semblance of charm, even if FIll Your Heart and Eight Line Poem definitely feel a few cuts below the rest. This is just a really entertaining album all across the board that balances decent variety with a constant sense of fun in order to create a near unforgettable listening experience, and the start of the long line of truly amazing albums that David Bowie would release.

Best tracks: Changes, Oh You Pretty Things, Life On Mars?, Queen Bitch

Weakest tracks: Eight Line Poem, Fill Your Heart

Verdict: This is just one of those albums that is basically essential listening, with there being so much charm packed into almost every moment, making it just an overall joy to listen to, despite the fact that it can initially feel inconsistent. This is one of the albums that I'd consider a great place to start when listening to David Bowie's catalogue for sure, at least for his glam era.

 The Man Who Sold The World by BOWIE, DAVID album cover Studio Album, 1970
4.02 | 378 ratings

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The Man Who Sold The World
David Bowie Prog Related

Review by Kempokid
Collaborator Prog Metal Team

4 stars While David Bowie's music broke out into the scene with the amazing track, Space Oddity, it wasn't really until this album here that I feel that his songwriting further matured even more, being able to create an entire album of quality, compared to his very spotty first and second attempts. Not only is this what I consider the true beginning of the worthwhile David Bowie albums, but this is also one of his heaviest, taking a lot more cues from hard rock while maintaining the more soft, beautiful melodic touches whenever the time calls for it. There's overall a more prominent focus on somewhat distorted riffs and an often darker mood, leading to an album that while a bit inconsistent, manages to be very distinct and interesting nonetheless.

The album starts off very strongly with The Width of A Circle, a track that fully utilises its 8 minutes to create a deeply memorable song with a number of twists and turns. The intro riff is nothing short of excellent, which segues nicely into the groovy main portion of the song which shows off some really great bass playing and drumming, further accentuated during the section where there's simultaneously a bass and guitar solo. To further cement this song as one of the countless amazing moments in Bowie's career, the song shifts at the halfway point and builds up into a slower, more emotional take on the intro riff, this time with vocals, before breaking out into something extremely fun and bouncy. While the scope of the previous song is quite impressive, it's All The Madmen that I pick out as the true highlight of this album, being absolutely packed with emotion in the form of a powerful tone of paranoia and despondance. While lyrics aren't often the aspect of a song that will really make or break a song for me, this is one of those cases where the extremely sombre lyrics elevate the song by an insane amount, creating a downright haunting listening experience that never fails to leave some kind of impact on me, especially with the absolutely perfect chorus. This is honestly one of Bowie's best songs in my opinion. Unfortunately, it's at this point where the album's flaw becomes more apparent, as its inconsistency arguably begins with Black Country Rock, which is an all around fun rock tune but ends up feeling a bit less powerful as a result. That said, I feel as if this song nonetheless manages to be good despite its unfortunate placement after 2 absolute powerhouses, as it's nonetheless a very entertaining song with some nice riffs and vocal melodies.

WIth this said, I can't quite say similarly about the merely decent After All, which is quite pleasant, but a bit uneventful in comparison, not really escalating at all, but not really doing enough to justify staying the same throughout, ultimately leading to a decent song, but nothing particularly great. This downgrade in quality is further exacerbated by Running Gun Blues, which is fairly repetitive and only saved by Bowie's animated delivery of the chorus, making it feel less monotonous than it probably is. Things are put back on track by Saviour Machine, which all in all feels a lot more typical Bowie across the board, with a more consistent pace and full of moments that are really fun to sing along to, all with tasteful use of synths and guitar solos to spice the song up and give it an almost proggy edge to it. Overall, the song's another essential one that often feels a bit underrated. On the opposite side of things, She Shook Me Cold is easily the worst song here and offers very little in terms of basically anything. The song feels anitclimactic and messily put together, not to mention twice as long as it actually is. While the song isn't outright terrible, barely any of it feels properly paced or thought out, with solos going on for far too long while the drumming just doesn't feel right, way too much crash cymbal. With that said, what better way to salvage the album after this misstep than with a song as iconic as the title track? There's a reason this is as beloved as it is, as everything from the catchy riff to the wistful tone it all has makes it such an amazing song that just feels extremely vibrant and powerful despite being fairly repetitive, overall working quite well here. It's almost a shame that this wasn't the final song on the album, since The Supermen is honestly fairly forgettable, being far from a bad song, but not even comparing at all to the finality that I felt the title track had, but still brings the album to a nice close, albeit not one that's all too remarkable either.

I overall enjoy this album for it going for a darker, heavier approach to most of David Bowie's work, and love it on the basis of it being the first of the many great albums to have followed. While inconsistent, I nonetheless find this a good album regardless due to the charm that permeates the album and the numerous amazing songs peppered throughout, even if they're often balanced by some clearly inferior cuts. Overall, while not the best David Bowie album, this is definitely one that's worthy of a few listens thanks to the great stuff decently outweighing the mediocrity by a respectable margin.

Best tracks: The Width of a Cricle, All the Madmen, Saviour Machine, The Man Who Sold the World

Weakest tracks: Running Gun Blues, She Shook Me Cold

Verdict: The heavier nature of this album in comparison to most of Bowie's albums makes it quite an interesting one, coupled with the numerous tracks that deserve a ton of praise for how charming and powerful they are. This wouldn't be the first album by him that I'd recommend to people due to the inconsistent nature of it, but this is still an album very much worth listening to regardless of some flaws.

 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.50 | 361 ratings

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Blackstar
David Bowie Prog Related

Review by sgtpepper

5 stars Some 19 years after his last challenging/progressive album (Earthling), Bowie hits the winning pace and lets all drop their jaws by creating this masterpiece that had been quietly cooked in the studio when he already knew it would be his last one. This swan song is one of the most unexpected and equally progressive works that undeniably broaden Bowie's legacy in progressive rock/art rock. Bowie surrounded himself by contemporary music trends to keep abreast and make a milestone ahead. Therefore, don't be surprised to hear drum'n'bass, electronica and other experiments. The first, title track combines great singing, almost mystical and offers great electronica with jazz background before coming to a more conventional art pop territory. The second track is none less experimental: hear echoes from the Berlin era with the updated almost drum'n'bass rhythm, free jazz saxophones. A pop listener may object to a monotonous track. "Lazarus" is a more traditional Bowie track rooted in art pop but still interesting instrumentation - saxophone, frequent drum fill-ins. "Sue (or in a season of crime)" is a drum'n'bass effort with beautiful arrangements by brass instruments and keyboards - very experimental and showing great textures. "Girl loves me" reminds me of late Bowie 70's due to synths while "Dollar days" is a poignant ballad with irregular rhythm. The last, swang song is a poppy song, melancholic but with jazz saxophone in the background.

This album contains several layers and a good dose of sophistication and takes multiple listens to be fully appreciated. One of Bowie's masterpieces and while not as revolutionary as his others, there wasn't anybody else apart from Bowie and Miles Davis being able to produce a contemporary music work after their 60's.

 The Next Day by BOWIE, DAVID album cover Studio Album, 2013
3.88 | 200 ratings

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The Next Day
David Bowie Prog Related

Review by sgtpepper

3 stars David Bowie returned with a nice comeback after 10 long years and he looks and hears to be revitalized, full of new energy and motivation. Looking at the album cover, references to former works from the 70's can be expected. After hearing an album you will confirm that but DB does not rest on the laurels and keeps the record natural by sticking to rock receipts as well as mixing slight electronic hints. Solid and well crafted outcome is the result. I don't agree with those that praise the album to be much better than the previous 3 albums, songwriting is at the same level or slightly worse but DB and his team spent more time on production and natural sound. You can hear that all players in the mix are very competent players who don't steal the spotlight, naturally.

The album starts off quite loud and upbeat with the most obvious referene to the 70's - "The next day" that sounds like producted with Brian Eno. "Dirty boys" is made in similar spirit - evocative format, good sound but no much of a songwriting power. The high quality of Bowie's creative writing comes to the surface in the latter tracks which are less about the sound and more about the substance. "Love is lost" is noteworthy for its combination of hypnotic church organ on a synth and modern drums. The ballad of the album is "Where are we now" and is easily one of the higlights with its haunting building melody, sad voice and keyboards. "Valentine's day" has a catchy melody and perhaps some 60's British corns in it.

"If you can see me" is a fantastic prog-rock track with syncopes, steady rhythm and full of ambition. "I'd rather be high" is a brilliant British pop track. "Dancing out in space" has a playful chorus. "(You will) set the world on fire" is an eager and anxious song that can be described as motivational by its name.

"Heat" is a dramatic track with rising cresciendo, full of reflection and a typical Bowie emotional vocal. Warm strings contrast with the dark air in the track. Maybe it was intended as a farewell track at its time.

 Reality by BOWIE, DAVID album cover Studio Album, 2003
3.36 | 134 ratings

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Reality
David Bowie Prog Related

Review by sgtpepper

3 stars The last of the three adult contemporary albums comes already one year after Heathen to also start a long period of silence. I would say that Bowie feels a bit tired on this record and there is a declined level of music creativity. This is compensated with greater rawess of music, it is edgier by the instruments and vocal. "The loneliest guy" is one of the creepiest Bowie's ballads, feels quite depressing, almost as if Bowie were drowning. "Looking for water" feels like 60's R&B beat with rocking guitar but it's hard to decide, which side the vocal wants to join. "Days" has a simple structure and yet interesting play with melody. The title track is suprisingly unremarkable. "Bring me the disco king" is the longest track with a simple structure but great jam-like piano which brings us to the jazzy waters. The track sounds fresh.
 Heathen by BOWIE, DAVID album cover Studio Album, 2002
3.74 | 175 ratings

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Heathen
David Bowie Prog Related

Review by sgtpepper

3 stars Heathen is not much different from Hours that set Bowie's music cuisine to contemporary adult pop music. You can hear that he is a seasoned and crafted artist and the production work is great as usual. There is enough to discover after repreated listenings. Bowie's music has become more reflective and less upbeat in the recent years and that may sometimes provide more transparency to see into the core of his art.

Arrangements and instruments support main ideas but stay politely in the background. Although there are electronica/trip-hop influence in the first track, the album is carried on a more conventional pop-rock wave. Out of instruments, I would highlight clever guitar playing variety and drums that sound differently in literally every song. Noteworthy is a string trio or quartetto that accompanies in several songs. The darkest a bit symphonic track comes at the end with echoes of the Berlin era.

There are few artists that in the world that could craft such a pleasant, competent album sounding contempotary at their age of 55 and remain true to themselves at the same time.

 Hours... by BOWIE, DAVID album cover Studio Album, 1999
3.41 | 130 ratings

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Hours...
David Bowie Prog Related

Review by sgtpepper

3 stars David Bowie stripped off experiments that were characteristic for his three or four last albums in the 90's and returned to contemporary adult pop/rock on this release. In comparison to "Let's dance" or other 80's releases, it is a less commercial effort albeit more radio friendly than "Earthling" for example.

The focus is on the substance and not the format which is good even though not always typical for DB. Strikingly good melodies, some good compositional hooks, memorable songs and not much time spent with instrumentation this time, that is the main message. The record is more laid back and sounds less dated than anything from the 90's or 80's.

"Hours" as the title track is deservedly one of the best songs with a charm and development that a DB fan can expect.

The longest track is a bit experimental with various drumming patterns but the melody is monotonous, though. Track 7 could easily be a Blur number, whereas the eighth track, "Suspicious minds" somehow reminds me of Tom Petty.

This album was one of my first forays into DB compositions and I recognize its place and qualities.

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.09 | 411 ratings

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Low
David Bowie Prog Related

Review by sgtpepper

5 stars One of the most interesting albums for proggers as well as pop/rock listeners and the first one that marks the start of Bowie's exposure to electronic music. Even in this digital outfit, Bowie excels with his craftmanship, showmanship and profesionalism.

Brian Eno makes excellent contribution as helps raise the band as one of Bowie's masterpieces. Keyboards, special drum sound and effects have replaced guitars and traditional rock keyboards. Songs are rather short but fresh.

The atmosphere is rather pessimistic and no wonder if post-rock found something valuable here.

The first instrumental song is the perfect intro to the album's mood. Energetic, powerful. "Breaking glass" is a electro- rock track with bluesy guitar, you could dance to it and equally listen with pleasure. "Sound and vision" shares previous feelings of Bowie for American R&B. "Be my wife" has a powerfully strong piano chords

I like the synth feel of the second half of the album with almost non-existent Bowie's voice.

"Warszawa" is my most favourite track here because it seems to be a solely Eno track, with beautiful dark keyboard textures and melody. Bowie delivers experimental vocal that sounds like Asian inspiration.Excellent stuff!

"Art decade" follows closely with electronic beats and melancholic synth chords - a spacy music. The mastery of Eno!

"Weeping wall" brings more variety with a guitar, pulsating beats and excellent synth sounds. "Subterraneans" is a more reflective piece, two synth leads playing melody and a simple bass synth providing lower support. Bowie's multilayered vocals define melody. Saxophone brings a more human touch in the second half. This is an excellent addition and masterpiece for any music fan.

 Station to Station by BOWIE, DAVID album cover Studio Album, 1976
4.01 | 329 ratings

BUY
Station to Station
David Bowie Prog Related

Review by sgtpepper

4 stars When Young Americans was a transitional album, Station to Station is a full-fledged and competent excercise in funk and blue-eyed soul. The change seems natural to Bowie and he fits well in the new realm, although it's definitely far from the best works create in funk/R&B not is it a revolutionary album, it is just well crafted and executed.

The first composition, the epic "Station to station" is a masterpiece of Bowie's excercise in art rock because of its structure and experimentation. Drums, Hammond, piano and bass are so pleasurable but even more is the change of the structure until it gets into more conventional melodic rock territory.

From now on, all remaining songs on the album are closely related to contemporary R&B. Not sure if Bowie's voice suits this type of music but instrumentally, all goes fine. "Word on a wing" has good female vocals. "TVC15" has a piano reminiscent of Elton John. "Stay" is my second favourite track because of its funky beat and quite a good melody.

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

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