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1 of #25Bowie: DAVID BOWIE (1967)
Rough start. This is a bad album, but it's a particularly bad Bowie album. Some of his weirdness, none of his charm. A few enjoyable tunes, but mostly this LP came across as a studio mashup of the Kinks and the Zombies w/ Bowie on lead vocals.
Rough start. This is a bad album, but it's a particularly bad Bowie album. Some of his weirdness, none of his charm. A few enjoyable tunes, but mostly this LP came across as a studio mashup of the Kinks and the Zombies w/ Bowie on lead vocals.
2 of #25Bowie: DAVID BOWIE (1969)
Much better, still not the Bowie we know/love. Iconic opener aside, most of the record is enjoyable psychedelic rock. If this was the only Bowie album it would be a solid record that music nerds know about but broader pop culture left behind.
Much better, still not the Bowie we know/love. Iconic opener aside, most of the record is enjoyable psychedelic rock. If this was the only Bowie album it would be a solid record that music nerds know about but broader pop culture left behind.
3 of #25Bowie: THE MAN WHO SOLD THE WORLD
Lots of rock, more electric, less Bowie. Some Zeppelin vibes. This record is... fine? It's not bad, but it lacks an X factor. I don't have a lot to say. Excepting the title track, I wouldn't come back to it.
Lots of rock, more electric, less Bowie. Some Zeppelin vibes. This record is... fine? It's not bad, but it lacks an X factor. I don't have a lot to say. Excepting the title track, I wouldn't come back to it.
4 of #25Bowie: HUNKY DORY
Classic Bowie. Finally. Piano with melancholy lyrics that feel dramatic and somehow uplifting. Side A shines brighter than Side B, but they're both good. This might not have been the record that made him a superstar, but it's the start of his sound.
Classic Bowie. Finally. Piano with melancholy lyrics that feel dramatic and somehow uplifting. Side A shines brighter than Side B, but they're both good. This might not have been the record that made him a superstar, but it's the start of his sound.
#25Bowie thought: One of the oft-written about things about Bowie is that he was an artist continually reinventing himself and looking forward. Four albums in, that idea really holds true.
LP1: Disturbed Merry Ol' England?
LP2: Psychedelia
LP3: Rock
LP4: Pop
LP1: Disturbed Merry Ol' England?
LP2: Psychedelia
LP3: Rock
LP4: Pop
5 of #25Bowie: ZIGGY STARDUST
Bowie hits the big time with this iconic album. Listening to his records in release order reveals that this LP was really the culmination of what he'd been experimenting with thus far. The perfect blend of rock with his growing pop sensibility.
Bowie hits the big time with this iconic album. Listening to his records in release order reveals that this LP was really the culmination of what he'd been experimenting with thus far. The perfect blend of rock with his growing pop sensibility.
6 of #25Bowie: ALADDIN SANE
A very confident Bowie comes roaring out at the beginning of this record. Not as seamless as its predecessor (see: title track), yet there are still great moments to be had. Loud-mouthed and occasionally rambling, it has a clear identity and image.
A very confident Bowie comes roaring out at the beginning of this record. Not as seamless as its predecessor (see: title track), yet there are still great moments to be had. Loud-mouthed and occasionally rambling, it has a clear identity and image.
7 of #25Bowie: PINUPS
This is a fun little record. A covers album, it lacks the meat of his other LPs from this era, but I appreciated it for what is. Not too long, with an enjoyable mood that falls apart a little towards the end.
This is a fun little record. A covers album, it lacks the meat of his other LPs from this era, but I appreciated it for what is. Not too long, with an enjoyable mood that falls apart a little towards the end.
8 of #25Bowie: DIAMOND DOGS
Maybe it's because I knew this was his last glam rock album, but I felt like I needed to savor this one. I think this is Bowie's most fully formed record since Ziggy. It's not his peak, but it's a very tightly constructed LP with lots of repeat value.
Maybe it's because I knew this was his last glam rock album, but I felt like I needed to savor this one. I think this is Bowie's most fully formed record since Ziggy. It's not his peak, but it's a very tightly constructed LP with lots of repeat value.
9 of #25Bowie: YOUNG AMERICANS
The title track immediately conjures John Hughes movies and I love it. Despite my appreciation for the 180° attitude shift, the album artwork, and the first and last track, there's not a lot of energy on this record. I want more Bowie bangers.
The title track immediately conjures John Hughes movies and I love it. Despite my appreciation for the 180° attitude shift, the album artwork, and the first and last track, there's not a lot of energy on this record. I want more Bowie bangers.
10 of #25Bowie: STATION TO STATION
Great album. Excellent opener. Melodic and mysterious, it's a classic with hits and deep cuts to spare. The final tracks felt a little stretched this time around though, and for whatever reason this listen didn't make a huge impact on me.
Great album. Excellent opener. Melodic and mysterious, it's a classic with hits and deep cuts to spare. The final tracks felt a little stretched this time around though, and for whatever reason this listen didn't make a huge impact on me.
#25Bowie thought: I’ve never listened to the Berlin Trilogy as a trilogy, so it’ll be interesting to hear what that’s like. How will the sound evolve over the three years?
11 of #25Bowie: LOW
Jump ahead a billion years, here's Low. More Eno than Bowie, this LP is great and ahead of its time, but also fragmented and a bit disjointed. To do this review justice, I should listen to it another 5 times...
Jump ahead a billion years, here's Low. More Eno than Bowie, this LP is great and ahead of its time, but also fragmented and a bit disjointed. To do this review justice, I should listen to it another 5 times...
12 of #25Bowie: “HEROES”
Take Low, make it less weird, add a fantastic pop single. Whereas its predecessor was Eno over Bowie, this might be an even Bowie/Eno split. While the title track is one of his most famous songs, it also ranks among the greatest pop songs ever produced.
Take Low, make it less weird, add a fantastic pop single. Whereas its predecessor was Eno over Bowie, this might be an even Bowie/Eno split. While the title track is one of his most famous songs, it also ranks among the greatest pop songs ever produced.
13 of #25Bowie: LODGER
Oooff, I did not love this record. I don’t think it was bad, but I would mostly call it ignorable. There were some catchy moments and some moments I found annoying. Points for experimentation, but not a standout Bowie record.
Oooff, I did not love this record. I don’t think it was bad, but I would mostly call it ignorable. There were some catchy moments and some moments I found annoying. Points for experimentation, but not a standout Bowie record.
14 of #25Bowie: SCARY MONSTERS
Couple of hits here and a return to a more rock focused sound. It’s not a bad record, but I’m getting the sense that Bowie has stalled somewhat. He’s in need of one of his trademark reinventions (or maybe could have used one after Heroes).
Couple of hits here and a return to a more rock focused sound. It’s not a bad record, but I’m getting the sense that Bowie has stalled somewhat. He’s in need of one of his trademark reinventions (or maybe could have used one after Heroes).
#25Bowie thought: Bowie’s vocals are starting to sound like a machine hammering against my head. Think it’s time for a break. Maybe that’s why I wasn’t a huge fan of the last two?
15 of #25Bowie: LET’S DANCE
The jumpy, drum-fueled dance sound courtesy of Nile Rodgers. Not all of this LP holds up well, but when it shines it shines brightly. It’s a rush of fresh air for his sound, and I had a lot more fun with this record than some of the previous ones.
The jumpy, drum-fueled dance sound courtesy of Nile Rodgers. Not all of this LP holds up well, but when it shines it shines brightly. It’s a rush of fresh air for his sound, and I had a lot more fun with this record than some of the previous ones.
16 of #25Bowie: TONIGHT
Loving the Alien was a bit muddy, but I liked it. Track 2 takes us deep into an ‘80s sound from which the rest of the album never recovers. That said, as the record progressed I grew to rather enjoy it. Also, Blue Jean hits at just the right moment.
Loving the Alien was a bit muddy, but I liked it. Track 2 takes us deep into an ‘80s sound from which the rest of the album never recovers. That said, as the record progressed I grew to rather enjoy it. Also, Blue Jean hits at just the right moment.
17 of #25Bowie: NEVER LET ME DOWN
Proof that the ‘80s drums claimed every pop artist, no matter how inventive. Still, the record has some real jams and a lot of energy. There’s also some weirdness here that’s been missing for awhile.
Proof that the ‘80s drums claimed every pop artist, no matter how inventive. Still, the record has some real jams and a lot of energy. There’s also some weirdness here that’s been missing for awhile.
#25Bowie thought: As the name of this project makes clear, I’m skipping the Tin Machine years. Critical to the story of Bowie? Yes. However, that he didn't put his name on the covers is significant. Maybe someday I’ll come back and give those LPs a listen.
18 of #25Bowie: BLACK TIE WHITE NOISE
Enjoyed this new sound at the beginning of the record and a few other times throughout. Other moments, such as the title track, are way too dated to enjoy. Generally I can see why this album was forgotten by pop culture.
Saxophone.
Enjoyed this new sound at the beginning of the record and a few other times throughout. Other moments, such as the title track, are way too dated to enjoy. Generally I can see why this album was forgotten by pop culture.
Saxophone.
19 of #25Bowie: 1. OUTSIDE
Bowie's mid-90s concept album with the return of Eno. Strap yourself in for a sonic odyssey. I enjoyed this record more than I expected to. It was too long, but I liked the art rock sound. This seems to be a highlight of his later period.
Bowie's mid-90s concept album with the return of Eno. Strap yourself in for a sonic odyssey. I enjoyed this record more than I expected to. It was too long, but I liked the art rock sound. This seems to be a highlight of his later period.
20 of #25Bowie: EARTHLING
I enjoyed this album for what it is. However, you also get the sense that Bowie is chasing "cool" now, having been left behind several LPs ago. The appropriated drum and bass sound that permeates this record optimizes this feeling.
I enjoyed this album for what it is. However, you also get the sense that Bowie is chasing "cool" now, having been left behind several LPs ago. The appropriated drum and bass sound that permeates this record optimizes this feeling.
#25Bowie thought: What if Bowie made a terrible late ‘90s/early ‘00s album cover? He’d cradle himself in a sea of icy whites and blues with terrible typography.
21 of #25Bowie: 'HOURS...'
I started out either bored by this LP or simply not liking it. The 2nd track in particular just has bad vocals that sound flat and are a slog. I liked Seven. Elsewhere there's run of the mill '90s pop to be found.
I started out either bored by this LP or simply not liking it. The 2nd track in particular just has bad vocals that sound flat and are a slog. I liked Seven. Elsewhere there's run of the mill '90s pop to be found.
22 of #25Bowie: HEATHEN
Based on the next few album covers and my reaction to Hours, I am pleasantly surprised by this LP. It feels a lot less try hard, and I really like the return to a simple rock sound. His best work since the late '80s.
Based on the next few album covers and my reaction to Hours, I am pleasantly surprised by this LP. It feels a lot less try hard, and I really like the return to a simple rock sound. His best work since the late '80s.
23 of #25Bowie: REALITY
What if early '00s Vanity Fair made a cover for Bowie? Setting terrible art direction aside, this is a pretty solid little album. With this LP and Heathen, it feels like Bowie has found a sound that works for him in this era without chasing the trends.
What if early '00s Vanity Fair made a cover for Bowie? Setting terrible art direction aside, this is a pretty solid little album. With this LP and Heathen, it feels like Bowie has found a sound that works for him in this era without chasing the trends.
24 of #25Bowie: THE NEXT DAY
Ten years, what a surprise! Back with a vision, Bowie plays all the cards he's collected over the years here and it's great. It's an energetic, triumphant return. Where Are We Now? is a standout latter Bowie track.
Ten years, what a surprise! Back with a vision, Bowie plays all the cards he's collected over the years here and it's great. It's an energetic, triumphant return. Where Are We Now? is a standout latter Bowie track.
25 of #25Bowie: BLACKSTAR
It's an album about death made by a dying man! Here at the end, Bowie has found a comfortable and haunting use for his tired yet distinct voice. It's jazzy, rocky, and mostly great. A powerful coda to a long and diverse career.
It's an album about death made by a dying man! Here at the end, Bowie has found a comfortable and haunting use for his tired yet distinct voice. It's jazzy, rocky, and mostly great. A powerful coda to a long and diverse career.
#25Bowie thought: What a journey! I may add to this thread later on, but for now here are my favorites in release order:
Hunky Dory
Ziggy Stardust
Aladdin Sane
Pinups
Diamond Dogs
Young Americans
Low
Heroes
Let's Dance
Never Let Me Down
Heathen
Reality
The Next Day
Blackstar
Hunky Dory
Ziggy Stardust
Aladdin Sane
Pinups
Diamond Dogs
Young Americans
Low
Heroes
Let's Dance
Never Let Me Down
Heathen
Reality
The Next Day
Blackstar
