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I listened to "Blackstar" back when it was first released, but it was in the car while I was driving and I couldn't really get into it. Now that the full album is out and I listened to it in headphones, holy moly. I thought The Next Day was good, but it didn't make an immediate impact on me outside of "first Bowie in a decade," but this is really, really good.
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Jan 8, 2016 20:07
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Well, this is extremely poor
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Jan 11, 2016 07:52
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I hope this causes a bunch of re-evaluation, because I still feel like the only person who likes Black Tie White Noise.
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Jan 12, 2016 22:09
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Marv Hushman posted:Loving The Alien borrowing from Laurie Anderson's O Superman was a masterstroke; I don't know if he ever acknowledged it, but he was always pretty forthcoming about citing influences. I don't know if he ever did so outright, but I do know that he and Gail would cover O Superman in concert fairly often in the late 90s. https://www.youtube.com/watch?v=AZwjPYplO88
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Jan 13, 2016 16:18
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davebo posted:As a result of everyone out-Bowieing each other recognizing the genius of such-and-such underrated album for several pages, I'm going to go ahead and declare Ziggy Stardust as criminally underrated. Has anyone even heard of this album? I think it was pretty great. Please stop making things up
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Jan 13, 2016 16:57
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BigFactory posted:Phish did a too on the nose and not that good cover at the Clifford Ball 20 years ago holy poo poo that was a long time ago. https://www.youtube.com/watch?v=BC1Ix-4X7lg This is makin me lmao you guys edit: holy poo poo guitar solo 1:37-1:41 is sublime
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Jan 14, 2016 18:19
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I've been working my way through an album or two a day, chronologically, since Tuesday, skipping only Pinups and the live albums. I feel like the only Bowie fan in the world who just doesn't love like 90% of Aladdin Sane. I look at it, and I listen to it, and there's a lot of great stuff going on. It just never clicks for me and parts of it feel tedious. Maybe part of it is that I grew up with the Rykodisc release of Scary Monsters, and that version of Panic In Detroit is so firmly lodged in my brain as superior that the slower, less frenetic Aladdin Sane version just feels sleepy and gets lost in an album of same-y riffs. It could also be that Aladdin Sane is one of the few albums I didn't own during ages 11-20.
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Jan 18, 2016 17:20
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Have I missed something, or has there been any discussion about the meaning of the star fragments at the bottom of the Blackstar cover?
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Jan 20, 2016 18:07
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Tim Burns Effect posted:I'd give anything to know how they got those snare drums sounds on "Breaking Glass", I mean drat https://bowiesongs.wordpress.com/2011/02/10/breaking-glass/ "And Davis, who Visconti later called ‘the most original drummer I’ve ever worked with,” delivers beats that had never been on a Bowie record before: Low makes Ziggy Stardust sound like it was recorded on paper drums. (It’s as if he’s trying to imitate and yet outplay the synthetic drums on Cluster’s “Caramel”.) The trick was Visconti’s Eventide Harmonizer, which Visconti legendarily claimed “fucks with the fabric of time.” For Low, Visconti used the Harmonizer to sample the drum audio and, an instant later, echo the sound, but with the drums’ pitch dropped a semi-tone. Then Visconti, in his words, “added the feedback of this tone to itself.” So when Davis hit his snare drum, he heard in his headphones the “crack” but the following “thud” never stopped, it just deepened and deepened in tone. Visconti described the latter as sounding like a man struck in the stomach (forever). At first, Bowie was unsure about the distorted drum sound, so Visconti sneakily turned down the effect in the control room but kept it on in Davis’ headphones. So on “Glass” (and other Lowtracks) Davis is dueting with his echo, in real time. He’s varying the power and length of his snare hits, especially on the one! one! one-two! one-two! pattern in the intro, and seems to be creating the massive synthesized, gated drum sound of ’80s pop music in the process."
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Jan 23, 2016 13:45
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