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Ziggy Stardust
(1972)
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David Bowie
Borrowing heavily from Marc Bolan's glam rock and the future shock of A Clockwork Orange, David Bowie reached back to the heavy rock of The Man Who Sold the World for The Rise & Fall of Ziggy Stardust and the Spiders from Mars. Constructed as a loose concept album about an androgynous alien rock star named Ziggy Stardust, the story falls apart ...
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Hunky Dory
(1971)
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David Bowie
After the freakish hard rock of The Man Who Sold the World, David Bowie returned to singer/songwriter territory on Hunky Dory. Not only did the album boast more folky songs ("Song for Bob Dylan," "The Bewlay Brothers"), but he again flirted with Anthony Newley-esque dancehall music ("Kooks," "Fill Your Heart"), seemingly leaving heavy metal behind ...
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Heroes
(1977)
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David Bowie
Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which ...
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Low
(1977)
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David Bowie
Following through with the avant-garde inclinations of Station to Station, yet explicitly breaking with David Bowie's past, Low is a dense, challenging album that confirmed his place at rock's cutting edge. Driven by dissonant synthesizers and electronics, Low is divided between brief, angular songs and atmospheric instrumentals. Throughout the ...
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The Man Who Sold the World
(1970)
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David Bowie
Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each ...
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Station to Station
(1976)
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David Bowie
Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. ...
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Scary Monsters
(1980)
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David Bowie
David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have ...
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Now That's What I Call Christmas! [Universal]
(2001)
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by
Various Artists
The Now series is known for crossing the boundaries of record labels in its attempt to provide definitive collections of hits -- usually from contemporary hits, but also of different eras and styles from the past (at least in its U.K. incarnation). Thankfully, the double-disc, 36-track collection Now That's What I Call Christmas! lives up to the ...
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Let's Dance
(1983)
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by
David Bowie
After summing up his maverick tendencies on Scary Monsters, David Bowie aimed for the mainstream with Let's Dance. Hiring Chic guitarist Nile Rodgers as a co-producer, Bowie created a stylish, synthesized post-disco dance music that was equally informed by classic soul and the emerging new romantic subgenre of new wave, which was ironically ...
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Pin Ups
(1973)
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by
David Bowie
Pin Ups fits into David Bowie's output roughly where Moondog Matinee (which, strangely enough, appeared the very same month) did into the Band's output, which is to say that it didn't seem to fit in at all. Just as a lot of fans of Levon Helm et al. couldn't figure where a bunch of rock & roll and R&B covers fit alongside their output of original ...
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Best of Bowie
(2002)
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by
David Bowie
David Bowie has switched labels so often his catalog is cluttered with hits compilations, all purporting to be definitive. Since he is one of the few major artists with no compunction against putting all his hits on one disc, they're all excellent, and 2002's Best of Bowie is no exception, no matter which country you live in (brief explanation: ...
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Diamond Dogs
(1974)
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by
David Bowie
David Bowie fired the Spiders From Mars shortly after the release of Pin Ups, but he didn't completely leave the Ziggy Stardust persona behind. Diamond Dogs suffers precisely because of this -- he doesn't know how to move forward. Originally conceived as a concept album based on George Orwell's 1984, Diamond Dogs evolved into another one of ...
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Bowie at the Beeb: The Best of the BBC Radio Sessions
(2002)
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David Bowie
Some collectors might complain that the double-disc Bowie at the Beeb, the first official collection of David Bowie's BBC Radio sessions, isn't complete, yet they likely have bootlegs of this material. All other fans are in for a real treat. Spanning from 1968 to 1972, these recordings find Bowie, if not in his prime, at least at a peak, as he ...
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Lodger
(1979)
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by
David Bowie
On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine ...
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Aladdin Sane
(1973)
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by
David Bowie
Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, ...
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Space Oddity
(1972)
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by
David Bowie
Originally released as Man of Words/Man of Music, Space Oddity was David Bowie's first successful reinvention of himself. Abandoning both the mod and Anthony Newley fascinations that marked his earlier recordings, Bowie delves into a lightly psychedelic folk-rock, exemplified by the album's soaring title track. Bowie actually attempts a variety of ...
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Tonight
(1984)
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by
David Bowie
On the basis of Tonight, it appears that David Bowie didn't have a clear idea of how to follow the platinum success of Let's Dance. Instead of breaking away from the stylized pop of "Let's Dance" and "China Girl," Bowie delivers another record in the same style. Apart from the single "Blue Jean," none of the material equals the songs on Let's ...
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Heathen
(2002)
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by
David Bowie
Heathen marks a new beginning for David Bowie in some ways -- it's his first record since leaving Virgin, his first for Columbia Records, his first for his new label, ISO -- yet it's hardly a new musical direction. Like Hours, this finds Bowie sifting through the sounds of his past, completely at ease with his legacy, crafting a colorful, ...
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Young Americans
(1975)
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by
David Bowie
David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at ...
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Changesbowie
(1990)
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by
David Bowie
Changesbowie is a CD greatest-hits collection that revamps the original Changesonebowie by adding selections from David Bowie's late-'70s and early-'80s albums. Consequently, it functions as a definitive single-disc introduction to Bowie, featuring all of his major hits from "Space Oddity," "Changes," "Ziggy Stardust," "Jean Genie," and "Rebel ...
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Black Tie White Noise
(1993)
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by
David Bowie
Black Tie White Noise was the beginning of David Bowie's return from the wilderness of post-Let's Dance, the first indication that he was regaining his creative spark. To say as much suggests that it's a bit of a lost classic, when it's rather a sporadically intriguing transitional album, finding Bowie balancing the commercial dance-rock of Let's ...
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David Live
(1974)
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by
David Bowie
The supporting tour for Diamond Dogs was supposed to be a theatrical extravaganza, yet as he headed out on the road, David Bowie became infatuated with Philly soul and changed his entire approach to reflect his new interest, as well as his backing band in the process. As a result, the double-album David Live captures Bowie in transition, as he ...
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Earthling
(1997)
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by
David Bowie
Jumping on the post-grunge industrial bandwagon with Outside didn't successfully rejuvenate David Bowie's credibility or sales, so he switched his allegiance to techno and jungle for the follow-up, Earthling. While jungle is a more appropriate fit than industrial, the resulting music is nearly as awkward. Though he often gets the sound of jungle ...
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Changes [EMI]
(1999)
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by
David Bowie
EMI's 1999 release Changes is a reissue of the 1990 compilation of the same name originally released on Rykodisc -- and itself being a variation of the two Changes compilations released on vinyl by RCA in the '70s and '80s. This 18-track compilation remains one of the best single-disc overviews of Bowie's hits ever assembled, hampered slightly by ...
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Reality
(2003)
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by
David Bowie
Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he ...
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