Bowie DVD & Video
Rise And Fall Of Ziggy Stardust (EMI) [ENHANCED CD]
Bowie's best album....the peak
of his creative years
This CD is a must-have whether
you are a hard-core Bowie fan or not. This creation really set the tone
for the 1970's and spawned so many followers that traces of it can even
be heard from today's rock musicians. Almost every song is a jewel in itself.
The bonus tracks are cool as well if you are really a Bowie fan. A classic!
To hear thought-provoking music
that genuinely pushed the borders of the medium, check out 'Low', 'Heroes',
'Lodger', 'Scary Monsters' - or reach back behind 'Ziggy' and get the hardly
thought-provoking but endearingly dippy 'Hunky Dory'.
'Outside' is Bowie's best album
since 1983's classy 'Let's Dance'. It is an eclectic mix of some of his
weirdest moments available on CD. Ranging from the anthemic title track
to the insanely catchy 'I have not been to Oxford Town' it is a must for
any Bowie fan.
While the album has garnered attention
for incorporating elements of drum and bass, its most striking feature
is truly Bowie himself as he recaptures an edge he hasn't shown since 1979's
Scary Monsters. From the addictively danceable "Little Wonder" to the appropriately
unnerving "Seven Years in Tibet," the album is full of the genius that
made him so remarkable to begin with.B.Snyder
Some would argue that this
is the last great Bowie album, and certainly his only great album of the
'80s. While it lacked the bite of its punk brethren at the time, it appealed
to some fans of that genre and to middle-of-the-road rockers as well. Muscular
playing met with no-frills production, and the product as a whole was infused
with a gloriously arty style. -Lorry Fleming
of Bowie [ORIGINAL RECORDING REMASTERED]
This 20-track compilation does
little to address the Chinese puzzle that has been Bowie's post-'85 career,
but it does deliver an artistically dizzying slate of hits as it skips
from one early peak to the next, from evocative cabaret ("Space Oddity,"
"Changes") through muscular glam rock ("Suffragette City," "The Jean Genie")
to R&B("Young Americans" "Fame") and post-punk flirtations ("Ashes
to Ashes," "Fashion") to the dance-club hits ("Let's Dance," "China Girl,"
"Modern Love") and '80s one-off duets ("Under Pressure" with Queen, "Dancing
in the Streets" with Mick Jagger) that essentially marked the end of his
superstar reign. Whole eras and at least one classic '70s album (Low) go
completely unaddressed, but all of Bowie's signature hits are here, as
well as Earthling's powerful, underappreciated "I'm Afraid of Americans."
With Hours... David Bowie updates
his musical wardrobe, but for the first time in his career he drops the
facade. The album is a real-life memoir of loss, regret, and repentance.
He boldly intertwines trip-hop rhythms, new-wave nods, Reeves Gabrels's
wondrously odd guitar riffs, slow, deliberate ambient tempos, and atmospheric
synth accents, all while maintaining a cohesive, otherworldly pop appeal.
The CD marks the completion of an ironic circle, where Bowie draws inspiration
from contemporary trends borne out of a musical style he invented decades
ago. Looks like Major Tom has finally found his way home, and what a gorgeous
homecoming it is. --Beth Massa
Heathen is, in essence, the first
"traditional" Bowie album worthy of kudos in years, as it successfully
reunites Bowie with producer Tony Visconti, the man at the controls during
Bowie's Berlin period. Heathen finds rock's greatest chameleon once again
remolding his past, advancing to new vistas by moving up that metaphorical
hill backward. --Kevin Maidment
Saints: Collected Instrumentals 1977-1999
This collection of instrumentals
offers a stark reminder of the sheer mind-boggling scope of David Bowie's
sound and vision. Most of these 16 brooding soundscapes are plucked from
Bowie's hugely influential 1977 albums, Low and Heroes. Taking his cue
from Kraftwerk, Bowie enlisted ambient pioneer Brian Eno and decamped to
Berlin. It's no exaggeration to say that the resulting albums were integral
in defining the path of modern music. Throughout, there's a palpable sense
of foreboding, perhaps best exemplified by "Sense of Doubt," a truly unsettling
mesh of booming piano and spookily spiraling synths. That the Thin White
Duke's Berlin material still dazzles is no surprise. However, it's the
remarkable revelation--provided by a clutch of slightly more recent tracks--that
he can still cut it that'll hearten disillusioned Bowie fans everywhere.
David Bowie returned to recording
after a four-year break with this relatively clean-cut 1983 album. Although
offering another definite new direction for Bowie, with Nile Rodgers of
Chic helping to produce a stylish post-disco dance sound, Let's Dance is
a mixed bag. Much of the album's success was due to its three danceable
hit singles-"China Girl," a sensuous Bowie/Iggy Pop collaboration, the
distinctive "Modern Love," and the funky title track. --James Swift
One of Bowie's more stellar moments
working with Brian Eno, Heroes again sees the artist moving into barely
chartered waters (at that point, 1977), creating moving, emotive rock and
putting it right up against some very detached and futuristic synthesized
sounds. --Lorry Fleming
The second most important moment
in Bowie's glam period, Aladdin Sane is full of smart, cutting-edge songs
that hold up decades later as classic moments in rock.
George Orwell's classic tale of
totalitarianism, 1984, was the inspiration for a project that David Bowie
hoped would further solidify his standing as a rock visionary. Bowie was
a natural artist to helm a musical companion to Orwell's allegory, since
his own music exhibits an innate alienation. The concept ultimately broke
down, but the music didn't. "Rebel Rebel" has become a rock staple, while
"Sweet Thing," "Candidate," and the forthright yet experimental title track
(Bowie as puppet master) offer additional highlights. Still, despite such
benchmarks and its conceptual flaws, Diamond Dogs is best listened to as
a thematic collection.
Bowie at his best!
Magical CD, live and superbly
recorded with fantastic classics like; "Station To Station", "Heroes" and
all the "Ziggy Stardust" classics. Bowie is the best, so brilliant, creative