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Hot drat, after listening to the album more-or-less on repeat since it dropped, I like it a lot better than TND. It sounds like a proper followup to Heathen (which is one of DB's most underrated albums, I think), and Bowie actually channels his Scott Walker fixation in an interesting way here. In this sense the title track is an incredible success; after almost 40 years and at least two failed attempts ("The Motel" and "Heat"), he's finally written his answer to "The Electrician." It's ominous, strange, catchy, and darkly funny all in equal measure, and I think it ranks up there with "Station to Station." I'm also really glad that he's willing to modulate his voice again after the spoken word fiascos on Outside; the "I'm a blackstar" bits call to mind the end of "Bewlay Brothers," and it's disconcerting as gently caress. The new versions of "Sue" and "Tis a Pity" are both really good, if not terribly exciting considering how long the originals have been out. I think the album will age well once the fact that these two came out as singles fades from memory. Also, I think using Nadsat in 2016 is gimmicky and lame, but Bowie's weird-rear end cadence on "Girl Loves Me" constitutes some of the most distinctive vocal work he's ever done, and the song is great in the album sequence. And the final two ballads are both great. I got chills when the "New Career In a New Town" harmonica first came in. I think "Lazarus" is the only real weak link. The lyrics are straightforward and kind of bad, honestly, and it doesn't really go anywhere. It's a damned good chord progression in there, though, and I think that with some more dynamic vocal work it could have been a real highlight of the album. It's not a bad song, but it's forgettable, especially sandwiched between "Sue" and "Tis a Pity." Strange choice for a single.
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Jan 10, 2016 03:15
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| # ¿ Nov 19, 2025 10:18 |
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I have no words to express my gratitude for Bowie's creative generosity. The man gave the world over five decades of the best art it's ever seen, literally subsuming himself into his artistic personas for the sake of his work. And instead of quietly retreating to his family when faced with a fatal cancer diagnosis, he wrote some of the most exciting, complex music of his career as a parting gift to all of us. He is truly one of the greatest artists of all time. https://www.youtube.com/watch?v=lMitPOgHCLQ https://www.youtube.com/watch?v=K1MXonBG5NI
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Jan 11, 2016 15:19
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Good Soldier Svejk posted:Now the echoes of "A New Career in a New Town" at the beginning of "I Can't Give Everything Away" make so much more sense in a terribly painful way. gently caress. The man knew how to say goodbye with class.
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Jan 11, 2016 16:29
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Anybody here watched Bowie's 50th Birthday Concert at MSG? I don't know if it was ever released properly, but I ended up with a bootleg DVD of it when I was first getting into his later stuff, and it's a hell of a lot of fun. He's playing with Reeve Gabrels, G.A. Dorsey, and that whole bunch, and it's pretty interesting to hear the Outside aesthetic applied to his other material. Some of the visuals and special effects are loving nuts, too; "Voyeur of Utter Destruction" has a 30 foot puppet of Bowie wigging out in the background. https://www.youtube.com/watch?v=cQ9Ha57S5mQ Honestly, the whole concert is worth watching if you can get past some of the more embarrassing guest appearances (get out of here, Billy Corgan  ). And while I'm not a fan of the Foo Fighters, the version of Spaceboy they did is maybe my favorite of all the mixes. Their percussion really beefs the song up. https://www.youtube.com/watch?v=MrTQLnOg4Z4
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Jan 13, 2016 01:43
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