Low - David Bowie

Yes, the time has come for me to review his "master work". The album considered by many as one of the best albums ever. Now when I say this, I'm referring to the 11th studio album by David Bowie. Now I personally love the hell out of this album, cover :D. This is supposed to be based off a promo poster for the movie he was in "The Man Who Fell To Earth". There's pretty much where The Thin White Duke is from (the film). This album is the first in the Berlin Trilogy, all of which were made with Brian Eno. I've actually enjoyed this thing from the first time I listened to it, but it wasn't until he passed that I really could say there was a connection with me and that record. Maybe I know what it was like to be at a low, there was other stuff besides just his passing going on. I mean life gets you there from time to time, but you learn and grow. One thing for sure I can disclose right now is, I can't say how many times I listened to the first half (or the entire thing as a whole) in the car while I drove to and from school. It's like a lot. So without further a due, does this live up to the hype? Is it a bunch of hipster bullshit that is buying in to a subpar record? Is Eno responsible for its level of brilliance? Am I qualified to review albums? This and many more will all be revealed to you below. So please feel free to say I'm full of shit, as I delve into this master piece of ambient/avant-pop/.

1. Speed of Life: This opens the album and sort of takes you to another place entirely. Like really, even though Bowie has since said (paraphrased) "Station to Station is just a rock version of what we were trying to do on Low", it still sounds pretty different. I guess I can see that comparison, but this is so different at the same time. The textures here are gorgeous, so are on the others, but this really just makes me want to dance. There are rarely instrumental intros that get me pumped and basically an immediate feel to sit through it, once it clicks. It just works so well as this albums opener I don't really know what to say. I love the dance feeling to the track and I love those icy synths that send shivers down my spine. The player are really doing something here that and I really just wanna re-listen to it once it's over. It also have a feeling of driving, like a broken up car is speeding down a highway or something. At least in my mind.
2. Breaking Glass: Where the last track was sort of bittersweet, there was a joy but it was mind of damaged, this is more of the damaged man trying to find joy. But he is sort of disillusioned by his fears and anxiety. Now I'm not saying that what it's about, that's what I'm saying it sounds like. This is also more "jagged" and abrupt and loud. I mean this isn't Merzbow territory or Boredoms but this definitely is less poppy than say some of his other stuff. Though I still love it.
3. What In The World: What do you expect when you get Iggy to contribute harmonies on this. I've heard this song at least 20 times and I still can't figure out that like Mario sound in the beginning. This track is another fast track, but I really like Pop's echoed backing vocals. I also really like the harpsichord sounding synth on the track. The textures on this thing, and whole album are great but still. I also really like the chaotic feeling and almost disoriented feeling you get towards the ending of the track. I think it's pretty damn good.
4. Sound And Vision: This is my favorite track off this album. This is also the track that I think is key to understanding this album as a whole. It's quite literal, it's not cryptic, it's like about as straight forward as you could possibly lyrically without taking the time to explain it in the song. This is both upbeat, but the way it's sung makes it haunting. It's happy, but it's also kind of down. It also has some great synths, very poppy feeling and that sigh in the beginning is so fucking great. Also I couldn't not mention that lead guitar playing the melody, fucking great shit. Mary Visconti, or Hopkins, comes in and is the female backing vocalist on this track. I really like her little thing she does and then Bowie comes and there's this vocal, then distorted vocal, I don't know if that's just on the CD or if it's also on the vinyl. Fucking phenomenal. Plus that saxophone, damn.
5. Always Crashing in the Same Car: A favorite of mine, its so smooth and chill. Very laid back and fun. The more I listen the more I love this thing. There is the obvious literal interpretation of him  crashing the same car continuously. This song also has meaning to me, because while it's about literally crashing a car over and over, I still cry when I go.... wow I'm doing the same shit over and over again. There is also a mellow feeling to the track that is almost deceiving. Well not almost, it is deceiving. There is also a top notch solo on this track that thank God for Carlos.
6. Be My Wife: This was to Angela, his wife, the two of which were going through problems. I guess he left America then went to France, or Switzerland, and one live in one place and the other... I don't exactly remember but there was just shit going down I guess. This song was looked at as his final plea to keep his marriage alive. Sadly they were divorced by 1980. But as for the song it's much more of a rock song and is pretty straight forward, hahah. No it's not to crazy or complex, though I do loves me some four on the floor. There is great playing from everyone once again and it's a great tune.
7. A New Career In A New Town: This is a great tune to close side 1 and is just fun. There really is a feeling that its like going through somewhere for the first time and feeling that feeling of a new beginning. I love the distant synth and that drum beat keeping time. It's so fucking good, and it's just like once it starts and that harmonica comes in.... I can imagine exactly what the title suggests. A hopeful song, but also shy and unsure of itself. The playing here again, thought much better than the last track, is still amazing.
8. Warszawa: Opening side two we get something entirely new for him. Nothing on any of his prior albums remotely resembled this. Eno is supposedly responsible for the chords to the track, but damn if this isn't barren. I mean I could see if Chernobyl happened in the 70's this song being written about and for that. Don't get me wrong this is amazing and can send chills down your spine, but its also gorgeous at the same time. There is a haunting beauty to the chord progression, the sounds, the textures and the everything basically. This could be the most realized song of the style on this album. Like the albums masterpiece, which isn't something new. It's crazy to think the only things used were a minimoog, piano and Chamberlain played by Eno, and of course David's vocals. I guess the lyrics were based on the recording of Helokanie by "Polish folk choir" Śląsk. I still love the fuck out of this and also this kick the shit out of anything John Carpenter could even try to do. That being said, this was written by Eno with the vocal stuff from Bowie. Also the 8 minutes don't drag on at all, honestly, they are well earned.
9. Art Decade: I like the little electronic flares that pop up in the beginning. This feels almost like its underwater and really has some amazing textures. There are these like sleigh bell things and then these little flashes that sounds like something darting by. The title is a play on the words "Art Decayed" and I assume "Art Deco". I could be wrong, but I doubt its "Decade" as in 10 years. I don't have a ton to say about this track but I really is hypnotic and relaxing. Not as much on edge as the last.
10. Weeping Wall: This is basically a variation on the song Scarborough Fair, which that kind of does bother me a bit but I guess it makes sense. I mean I love this instrumental none the less, but that does deduct some points there. I personally love percussion, especially pitched percussion. I wonder if Reich inspired this track, if not for the lead synth I'd say this is very minimalist. It is very repetitious, but I still love it. I also love what I'm assuming is treated guitars. This is also very hypnotic, and I'm kinda waiting to ear the song progressively disintegrate as Come Up to Show Them Does.
11. Subterraneans: Closing we get the whole band back together. I really like the bass in the beginning and this very much feels like a Residents track. This is very quiet and I almost feel like was supposed to have strings. There is a ending feeling of this and that saxophone kinda of reminds me of 80's music, but not like in a bad way. It feels very sad and this feels just distant. I would like to see the track get nice and confident and grow, but this is more realistic. You don't just get out of it right away, even once you've accepted it. It takes time to heal and this is the ending. I also smile when I hear echoes of futures songs and ideas on later records by him in this.

Overall I have to give this album a 10/10. Okay, do I think this is the masterpiece everyone else seems to claim it is.... I mean if you mean in terms of nothing wrong, then yes. I mean the more I listen to this the less I find error. I have to actively seek out negative aspects in the songs. There really is nothing wrong with this album. Sadly I have to say I agree with this being one of the best albums ever. I think part of what the appeal of the record lives in the fact he was at the lowest point in his life. While that might be lower than I'll ever sink, everything is relative, you can probably relate using your lowest point. A drug addiction for someone may be rock bottom, where as depression may be for another or divorce even cheating. All those and many more it just varies from person to person. The fragmented and broken lyrics and music on side A are very transparently relate-able. A broken man trying to write and basically get his life together. There is a comfort knowing that you yourself, regardless of the dilemma, are not alone. When I listened to this record I sort of got a sense of comradely (hopefully that's spelled right) in Bowie. As much as the world sucks and is really pointless (outside of music) there is a sense of peace that once it clicks you feel. I can kind of understand why people hold this in such high regard. I don't think it's the best record ever, as with his other material during his prime it is amazing none the less, but it's not far from it. I also want to say, along with that comfort, there is a sense of hope in these songs. This really is great. 

Aladdin Sane - David Bowie

The last memorial album I did didn't go over so well, so why not review an album that I consider one of my all time favorites. It is in, some what, continuous play on my iPod/Spotify/iTunes/Anything Really. And as much as it sucks he's gone, let's hope this review is positive enough, though I'm not going to lie to you, I know it'll be a fitting goodbye to one of my heroes. In past reviews I've mentioned how much he means to me as a musican/writer and there is no way I'd ever be able to pay him back, and since I need more time to dissect Blackstar, Aladdin Sane is the natural choice for this (if not counting the ones I've done and not Lodger). But anyway, here are the facts, this is album number six. This was the first of two albums released in 1973, the other the covers album Pin Ups. This was released in April of 1973 and was mainly written while David was on his American tour for Ziggy. This is looked at as Ziggy in America, and that's a great way to look at it.

1. Watch That Man: maybe not the best song here but damn is it a solid glam rocker. From the hard rock guitar and the piano and the nice ass drum beat. This song is a terrific opener. Like I said this is pretty straight forward tine, one listen basically gives you everything there. You might pick up on that piano later, but it's still a nice rocker.  Actually the backing vocals are awesome and that piano reminds me a bit of that live performance of Search and Destroy on the Legacy Edition of Raw Power. 
2. Aladdin Sane (1917-1939-197?): So we opened with a rocker, a straight forward tune. The following track couldn't be more different. With a title that hints WWIII could happen sometime in the 70's this odd European tune is one of the things I love about this album. It kind of throws left hooks. This song has some gorgeous piano from one Mike Garrison. The chorus here is as catchy as any of his other, more poppy songs. That guitar riff, and that tone (esp. During the verses, Damn!). I love the sort of freak out with the saxophone backing up the insane, almost mad man playing of the piano. I mean yes there is logic to it, but to a regular person.... WTF. I'm serious if I played the solo section for someone out of context they'd most likely be confused. This song is great and I couldn't ask for something else for this spot here. And that ending :)
3. Drive-In Saturday: A classic, and by that I'm serious. I guess this is about people in post apocalyptic.... just look it up. It's kind of interesting. Plot aside, this has a doo-wop sort of vibe to it. It isn't straight doo-wop though, like some of his best tunes.... It has this weird atmosphere to it. Seriously, I mean it almost makes no sense, but it's a solid ass fucking song. I love every second from the sax to the vocals to those backing harmonies. Plus the lyrics are pretty funny, in a kooky way. 
4. Panic In Detroit: Another rocker, though this is more of a hard rocker. I can't recall if this is about anything, like a real riot in Detroit, or whatever but I honestly don't care at the moment. This song is much better than the meaning and it doesn't need a meaning to make it good. There's a reason he played this live in the years to follow. It's a great rocker that is probably the closest The Spiders would get to TMWSTW. There are actually riffs where it sounds like it could go into the extended solos on that record. Even the opening just shouts rock and roll. I mean really. Also I should mention, this sonically sounds different from the other tracks, but not enough to not fit on this mixed bag of rock and roll tunes. I love the backing singers here too and we get to hear Mick just rip.
5. Cracked Actor: This is the only song I can say that I don't either Love. I mean it isn't bad, but compared to the other tracks I don't think it's as strong. You can almost look at this as a rewrite of Jean Genie. I mean this is a good glam rock tune, I just don't Love it you know. 
6. Time: This song starts out with a piano that is avant-gardeish. There is this vaudeville feeling to this track. I feel like this could be a cabaret number. It's very odd, there is a type of closure you get with this song.... now at least. It's got everything here that makes this album great, vocals, I love the guitar when the song gets more intense. I love how it goes back to the beginning and just feels like odd, even thought in reality it isn't the odd. Mick has some great guitar parts here that just add and, he's fucking an amazing arranger period Those backing vocals are great. I mean in reality most of what makes these songs great is on each song. The only thing is they all are different enough, to where you could call this a mixed bag of songs.
7. The Prettiest Star: A rerecorded version of the 1969 single, written about Angie Bowie. On the original Marc Bolan played lead, and Mick tried to replicate that guitar on this recording. This is a happy song, and I mean I feel like it's sort of heartfelt. It sort of reminds me a bit of Kooks or Soul Love or just a number that may not necessarily be the "insane genius theorist" he is elsewhere. I like songs that show another side to a guy, this is one of those. Nice saxophones by the way :)
8. Let's Spend The Night Together: The only cover on this album, it was originally released as a single by The Rolling Stones in 1967. Opening with a sort of weird heavy psych, feed back and then what I can describe as atonal piano hits. The songs rushes into a performance, and damn this thing fly's by. To be honest, the best performance of the song. This almost sounds like the original, but better heavier and more rockin'. 
9. The Jean Genie: What can I say about this track. It feels like a pirate is playing this. Seriously, I much prefer to think the Rebel Rebel video Bowie is singing this. This riff is just one of those, and yes you can hear it towards the ending of Width of a Circle, but here it's just so oddly perfect. I can kind of imagine people in the 70's going... what the fuck, this is really good, but still what is this. There is a reason this is as famous a song as it is. It's classic. Go Mickey Go!
10. Lady Grinning Soul: Argue with me all you will, but I believe this to be the most romantic track to ever be written... ever. You can't top this, not Marvin not Smokey, not Ole Blue Eyes nor anyone else. Keep on listing songs, you'll never change my mind. From Mr. Garrison's opening piano rolls, to David's sole vocal introduction. Listen to this thing, I mean really. Everything here sounds so damn good, and just the playing is so tight. I really can't find anything wrong here. I love the saxophones, I love the Spanish solo. The piano and guitar duet, Mick you are a genius. This word is almost too good for words, every time I listen to this I cry a bit. This song is perfect.

Overall I have to give this a 9/10. This s very much an Americanized version of Ziggy. On top of that its a great fucking album, there isn't much to complain about here. I mean really, every songs is unique, and they are all solid performances. I guess you could complain there's a cover, but that's just nit picking. Bowie my friend, you may be gone, but I know you're one of the few people to make a string, constantly great to amazing albums, from 1969 to 1980. Though I may never be able to tell you, or thank you for everything you done for me I also don't think I'd be able to either. Sometimes, actions speak louder than words. I'm gonna miss you.

Let's Dance - David Bowie

Album number 15, and overall number 17 (19 if you include Baal Ep and Peter and The Wolf). This is the album that directly follows Scary Monsters. That album is kind of awesome. This album is a big, huge leap from the former in terms of sound, players, and even producers and the label too. It's more of a dance album. It's also definitely more commercial, definitely less personal. I don't believe there are any real Ashes to Ashes moments. Not that nor Teenage Wildlife nor any other. This LP was also the first album since 1977's Low, to not be produced by on and off again producer Tony Visconti. It should be noted Visconti first started with David Jones on his second self titled album, and in the states titled Man of Words/Man of Music, back in 1969. Instead you have Nile Rodgers of the disco group Chic producing. He would return ten years later to produce Black Tie White Noise another more pop oriented record, for the time at least. Though it's much more artsy than this one. The other change was this was the first of 4 records, including the collaborative soundtrack to Labyrinth, on EMI America. And lastly the players, I don't recognize a single on for any album prior to this. I may be wrong here or there about it, but I'm pretty sure.

1. Modern Love: One of my favorite songs ever, this has such an infectious beat. This song makes me want to get up, sway my arms like an idiot, and not give two shits. This is such a feel good song, I wish the rest of the album was like this. Everything about this song is done right, from the performance to the vocals to the infectioustisoty to the instrument choice. It's something that holds up after 60 or so odd listens and multiple months of not hearing it. I have to fight my self to not sing along. I love the little piano and the sax solos and the just 80's this is. This is done right and much like other 80's tracks done right, that include sax, being Rio and Just The Two of Us I feel this isn't going anywhere. Honestly I can't find anything wrong with this track, other then why is it so good and everything else here pales in comparison.
2. China Girl: This is a cover of a song that was co-written with Iggy Pop and features on his 1977 album, The Idiot. My favorite thing about this track is that I watched a documentary. In the documentary Niles was the one who said he came up with the riff and said something like "you can't have a song called china girl and not have it convey something about chin". Something along the lines of that. So  Bowie was only racist in the slanting if his eyes for the music video, not for the arrangement. :') But seriously, I dig this track. And yes its another case if the originals better, this is an interesting arrangement and execution but not on par with the first. The singing here isn't really that anything, the best part is probably the bass, especially on the part "I walk into to town, just like a sacred cow". I love Carmine Rojas' playing, on the track at least. But in reality, even by way of soloing this is underwhelming. It doesn't even sounds like Stevie is playing. Hell I played a better solo on the spot while listening vs the on that made the record. The solo should be spit fire, Width Of A Circle esque. Packs a punch, this just ends like a little old lady, not powerful enough to hit anyone. It has a decent music video, just like the track before this and following. But look for the uncensored one, just because there is one. All and all Pop's version is the far far far far far far far far superior. This is the type of track the needs a General Turgidson character performing it vs a non personality driven person whom I can't quite think of at the moment. 
3. Let's Dance: The only track with a co-credit form Rodgers, this is the song where the album gets it's title. When I first started listening to Bowie I liked this song a lot. And I still dig this song, though 7 minutes of this can be difficult. I mean I can't really complain, there isn't anything wrong with this track. It goes at a good pace, it have interesting sound choices, a killer solo from SRV and even great vocals. Vocals that quite frankly, in a different song, could bring a chill down your spine. Maybe it's too many listens, maybe it's that it's 7 minutes, maybe it's I want another Modern Love but this isn't the best song here. 
4. Without You: "I can't live, I can't give anymore." Sadly it's not a cover of the classic track if the same name I just quoted. No instead this is a Bowie original. And hey another Stevie Ray guitar performance. Honestly I really can't say much about this track. I just started and ended. And even when I listen I still don't have anything to say
5. Ricochet: Question; if this track is "on the ricochet", will in then indeed "going to hit" me. Another original, but a terrible horrid arrangement. I mean hearing this and how off it is I'm not shocked Bowie has a track like this. Hell The Beatles, Led Zeppelin and any other hugely talented artists will have (regardless of if they stole a song, or about a back catalogs worth of songs) some tracks that just don't work. Some that sound off. That's what's called an demo, or an outtake or a track you don't use for an album. What I can't understand is how the fuck did this make it to the album. Upon re-visitation thought, closing my eyes and envisioning what's really wrong.... I got it. This is in it's simplest form a reggae number. Now this band, because most of it would go on to play on Tonight, would do a solid easy pretty reggae with the title track from that album... but here it just doesn't work. Not only does it not work, it could have worked if they took the time to rearrange it. Slow down the refrain, practice it more those two thing could have made it work. But the fact that they didn't do that proves, and clearly shows they either didn't care about the track or didn't track the time. David on the worst tracks here shows no emotion, but at least the backing track is either pretty great (Cat People) or good enough (Shake It). But on this track.... not it just doesn't.  And it could have..... UGH. And that's cutting the whole radio telecaster thingy some slack. It kinda just sounds like they just cluttered a bunch of Oingo Boingo tracks together.
6. Criminal World: This is a cover of the 1977 Metro track, off their self titled album. The original is actually a pretty solid track. I like it, but this cover.......... Well at least Stevie Ray plays the solo again. The original has feeling that builds up from the beginning. While I don't believe it has the full impact it could, it doesn't take away from it. It's still like a solid 7 or 8. Also that solo, and ending in the original awesome. Then you get this. Yes it is very faithful to the original, and is even faithful to the previous tracks and style of this album but I don't know. I feel like this could possibly be better and more exciting then the original. Thought the solo is lesser here than on the original.
7. Cat People: This is a noble effort, sorta. This is a re-recording of the track from the Cat People soundtrack. You know the song that he wrote the lyrics to and Giorgio did the music too. Bowie wanted to use it but he couldn't get the rights to the far far far superior version so they reworked and rerecorded it for this album. The original is very bare bones, synths and vocals and then the instruments come in. But it maintains a primal-istic feeling, like a primal urge. The first thing you hear on this is a guitar, and if I don't expect this to play I usually laugh. The instrumentation and Niles again has an interesting interpretation for the instruments but here the biggest flaw his Bowie himself. He isn't even trying. Where on the original I envy him and his vocal chops, here I feel nothing. And the backing vocals accompanying him for the "Putting out fire". I give them props for the rearranging the track and making it kind of an ambitious rerecording, the solo even sounds pretty solid. And what a tone, but Bowie literally sinks it when he's present. Hell this solo would have made China Girl a better song.
8. Shake It: " off" (?). Actually that's good advice. This is the last track, shake off the negativity and biases your forming towards the album. Allow yourself to view this, hopefully worthy of letting go of the past encounters that led to me beginning to accept the stereotypes of this album as fact, as a new experience and truly end on a high note. Does David do that? Will this be another blunder like previous tracks? Will I ever get to the point? Do I really care if i use proper English and grammar? Have I been watching too much Danger Mouse lately? The quick answer no to all but two. Also you can never have too much DM. But I will give them credit for reminding me of two artists that were putting out much better material during this period Duran Duran and Prince. And the backing vocals that don't really sound that great reminds me of The Mothers back in the 60s, those gave the song personality, theses...... don't.

Overall I have to give this a 6.5/10. Bowie has personality, just not here... minus the first track. He was probably too busy almost marrying Janet Majors to make a records, and also staring in a movie with Farley Flavors and Janet as a vampire. But then again.... I don't blame him. I'd rather do that, especially back in the day, then make a stupid album. All and all this isn't his worst. Trust me its not even close.... Well I mean if we were in 1983 and you were able to look 4 years in the future that's the worst thing he's ever done. But regardless I still have enough here go revisit this and even revisit the "not very good" tracks. So yeah. Also the whole, two Giorgio kinda reviews in a row was unintentional. Also a plus here is that it's only 35 minutes long. Also I don't know how to feel about Sammy Figueroa playing on this... he also played percussion on a favorite Mingus track of mine Three Worlds of Drums off his 1979 Me Myself and Eye.

Tonight - David Bowie

This review has been sitting on the "fill in the blanks" pile now since at least December, maybe even earlier. I figure its time to get it over with. This is the follow up, by about 17 months, to David Bowie's commercial album Let's Dance. This though, was followed up by, minus Labyrinth, 1987's Never Let Me Down. This album, like the previous, Let's Dance (and not Ziggy Stardust Soundtrack) features some co-written songs and some covers. Though David seems to have always have a cover song on albums, from at least Hunky Dory to Aladdin Sane, and from David Live to Station to Station. There are other examples, but I just want to get to the point. He must have gotten lazy on this thing. And even though i read he thinks (or thought) of this as Pin Ups 2, its not all covers and he co-wrote some of the covers he is performing. But when all is said is said and done, lets go to the review. Don't fear, Cherry Bomb is up next, and should be up within the week.

1. Loving The Alien: One of only a very few songs that I truly like, on this album. Not just enjoy or can tolerate, actually like. I actually think the better version is the 2004 acoustic rendition of the track that appeared on the 2010 Reality Tour CD, and I think it was released on DVD in '04 also. The only problem with this track is its very cluttered. There is a lot going on and it sounds like too much going on. Also I don't like the way it was edited. I wish it would flow better between the sections of the song. But beside that it's a great track. The sad thing is that it doesn't flow so well. And he's made sides of albums flow, he needs Tony. 
2. Don't Look Down: A cover of Pop's 1979 track off his New Values LP. There are two other covers from him and they are both from the 70's and he also co-wrote them with the Stooges front man. This song is not as fun as the original. The original is, while not one of my favorite solo Pop track, it is still better than this.This is very ska and very dub reggae ish. Like this sounds like an 80's take on a track I'd hear Sublime or Bob Marley doing that is boring. And the backing vocals again, reminds me so much of Wings on their soft rock tracks.
3. God Only Knows: This is a cover of the great song by The Beach Boys. Now without comparing the two I would have to say that the original, another example on this album is Tonight, is better. By a lot, a lot. Like I mean when I listen to this I just don't get any pleasure out if it. And to prevent a relisten to hear and give more details I'll say what I remember. His vocals, the arrangement, the playing, lack of charm, lack of interesting harmonies and worst of all it doesn't cause a tear in my eye or rip at my heart, unless its a heart attack or tears of pain telling me to avoid the track. :(
4. Tonight: This is a cover of the track he co-penned with Iggy for the Lust For Life album. While the original moodier and darker version by James Newell Osterberg, Jr. was the best version and haunting in its beauty, David decided to make this into not only a reggae number but also a duet with Tina Turner. Now this version isn't terrible, but after you hear the original you'll know your allegiance. I actually enjoy the happy feeling I get from this. This track version is also very fun to listen to. It's also fitting that he cut out the intro that explains what the song is really about, since there is a woman singing with him. Now I don't want to spoil it, but I like how the cover was actually reworked it into something fitting Bowie and kept it from being a piece of crap cover version. I also like how this was changed into more of a two lovers singing together vs the originals one side perspective. In cutting that intro he basically changed the whole entire story. Like he changed what his version was about and its a significant change, not a change the pronoun in The House of the Rising Sun change. somethings on such a different meaning I'm lost for word when trying to think of another example this extreme. {8.7/10}
5. Neighborhood Threat: Originally on Iggy Pop's 1977 album Lust For Life, this is another track that Bowie decided to cover for this album. This was also co-penned with Iggy and Rick Gardiner. The latter was also a member of The Stooges, for a short time. And damn this is so 80's if it wasn't on an episode at, least in the form of an instrumental, on Miami Vice I'd be shocked.The verses sounds a ton like; like it's crazy similar to, Dreams (?) by Van Halen, and that track came out two years later. The pre-chorus sounds like Bang Bang. Hell this whole entire track is a prelude of what was to come on the Glass Spiders tour. But I can't stress that this is no where near as good as the original. Also I plan to add the song when I figure it out. 
6. Blue Jean: This is one of only two tracks sole penned by Bowie. While I live to see his name solo again, this is one of the lamest songs on the album with his name as the writer. I mean, yes it's fun and a decent track. But I've grown away from the song. This sounds like it would actually fit on Let's Dance but might have been cut last minute or something. Whatever the case I just have fell out of love with the song. Even when I did like it when I was in grammar school I never loved it, more of a like for it. It was never a Space Oddity or a Ziggy Stardust. It was more in line with Let's Dance or the Cat People redo. I hope that makes sense.   
7. Tumble And Twirl: This is another co-penned track with Iggy Pop. Something about this.... screw it, I think this is a dumb name for a song. I mean it just kinda bugs me. And well this song is so Oingo  it's just.... the only good part I think is the quiet part that reminds me of soft rock with the acoustic guitars.  That sounds like something I'd hear on Venus And Mars, most likely, by Wings. I get the whole feeling of this track, and honestly it's not horrible, it's just not up to Boingo quality. This might be the most blatant copy? of Dead Man's Party, though that track came out the following year. Though I am digging the acoustic guitar tone for the solo.
8. I Keep Forgettin': This is a cover of the 1962 track originally recorded by Chuck Johnson. Other artists covered this track include Ringo for his 1983 Old Waves album and Procol Harum for their 1975 Procol's Ninth. So at least there are other people who know this song and probably like it, and it's not another Iggy Pop cover from the 70's. And to be completely honest this reminds me of Oingo Boingo. The track I have in mind particularly is Goodbye Goodbye. Like serioulsy everything about this track reminds me of the group, from the horns, drums, vocals performance and even the chords and the rhythm pattern. The only thing is Goodbye Goodbye is louder and more upbeat. And maybe replace the guitar solo with a saxophone. But the intro sounds very similar to Modern Love's drum beat. {7.8/10}
9. Dancing With The Big Boys: This was was co-penned with Pop and Alomar. If I am correct Bowie once said this Is the track that was what he was going for on the album. This one came out best or something like that. To be completely honest I've heard the song, obviously if I'm reviewing the album, but its nothing that special. I mean I guess if you listen front to back its a nice ending but still. 

Overall I have to give this thing a 6.3/10. The biggest problem here is Bowie must have had writers block mixed with lack of interest mixed with no drive. While his name does appear in six of the songs writing credits, 3 of those six are covers of Iggy Pop songs. The worst thing is this slump wasn't just for this album, thought it also appeared on the prior too, it continued on to the next album 1987's Never Let Me Down. Such a terrible title for something that does every time. But anyway this album does have decent tracks, but Davey just isn't up to par on this. The best way to enjoy this is front to back (to hear them all), then periodically listening to the other tracks alone and revisiting them over time. And also not taking them as serious as his other material, but that should be a given. I should also mention, for as harsh as I was on him for sound like Elfman's new wave ska legends, some tracks on DMP were also uneventful and kind of boring so. Who knows, maybe it's just my tastes and sonic pleasure areas. 

Station to Station - David Bowie

FINALLY, HERES A NEW REVIEW. This is the 10th studio album by one of my favorites, David Bowie. This is the album where he was at the height of his cocaine addiction. This is the album before the legendary Bowie/Eno Berlin Trilogy. This album was produced by Bowie and Harry Maslin. I have noticed an almost universal love for this album I like the album too, but not as much as everyone else does. It has grown on me 

1. Station to Station: This song is one of my favorite Bowie songs and one of, in my opinion, the best songs ever made. This is, in theory, kind of like Bowie's own Stairway. But this song kicks the crap out of Stairway in everything, except a complex guitar solo. At the end of the day though, you don't need to have a Jimmy Page solo to be a good solo. Look at Coffee & TV by blur. That solo fits the song, and this solo fits this song. This song is kind of a build up. It starts with a 1 or 2 minute intro of what sounds like trains chugging. I love the way the piano sounds when it kind of breaks the train off. Then after that it goes into a guitar riff that replicates, more or less, the rhythm of the train in the beginning. Then when the vocals come in this guitar arpeggios? is playing "The return of the Thin White Duke, Throwing darts in lovers eyes". I love that line of the song. The lyrics of this song are just so sick. This is one of the fastest 10 minutes of my life. The cream of the crop comes thought at about 5:15ish when there is a drum interlude for about a second or so and then "Once there were mountains". I love that part. I can't tell you how much I love it. It's a completely different song after that point. It's almost like they were written as two different songs squashed together, but it worked perfect. Kind of like Funeral For A Friend/Love Lies Bleeding. The former ended in the same key as the latter started in, so he put them together. "The European Cannon is here". Damn, this is an amazing song! I just love the lyrics; but one of my favorites, and stand out for me, is "Have you sought fortune evasive and shy". I could take that more than one way. But my way of interpreting that specific line is, have you gone after fame evasive and trying to hide and sneak around people. This is nothing short of epic. I think they double tracked his vocals, but one is higher pitched. So rather than reverb it's like two different people singing. I love they way that people do this trick. And David was able to sing different enough to make it sound right. The guitar riff is kind if like a horse Gallup, at the "Have you sought fortune and fame". The bass is pretty sick to play too. I can play this song, I love jamming and playing along with it. I could go on forever about this song, but I should probably stop. {100/10}
2. Golden Years: This is a good song. Not great, but it's a quality song. This is just an odd song. It has a weird feeling to it. I know it's kind of like a song that is like a ballad, but it's just somewhat weird. Maybe it's weird chords, but I love the idea of this song. Like, a ballad with "indian chords". I know they didn't use "indian chords", but the idea of making a pretty song with odd sounds. I looked it up, it's F# to E. that's awesome. {8.1/10}
3. Word On A Wing: This is a pretty romantic song. Kind of like some of the romantic songs on Young Americans. I actually could almost see this song being on that album. According to he VH1 Storytellers he said this was written as kind of a way to cope with the darkest time of his life. There is also a theme of religion in this song he touches upon. This is a pretty touching song. You can kind of tell there is some emotions that go into this song. I didn't like it much at first, but with more listens its become a song I love to hear. This is a song I would check out if you haven't heard it before. I also like the choir thing at the ending. {9.2/10}
4. TVC 15: This is supposedly inspired when David Bowie saw Iggy Pop's wife get eaten by a TV. I don't know what that is supposed to mean, but this song is a decent song. I don't really know much about what to say. I could see, in an odd way, this being a song you can dance too. I like the "dance hall?" flavor in the beginning. I think that's the right word. The chorus part I'd just sick. It feels pretty epic and big. I also like the sax there. It's harder to hear, but if you listen you can hear it. 
5. Stay: This is another song that is a little different. Not what I expected. I do like the chorus. This is a song that reminds me of Young Americans. This is a pretty damn good song. I like the way he sings in the chorus. I also like the solo. It's more of like a guitar fill. It's not overly complex. It somewhat reminds me of, at parts, of Georgie's playing. That's probably my favorite part. 
6. Wild Is The Wind: Though I love the dozen or so Nina Simone songs I've heard, especially Save Me, I think David does it better. This is a pretty romantic song. I like that this is the ending. It fits the album perfect. It's like the book closer. This feels like a song where you'd take the woman under your sheets and just make sweet love to her. I like the acoustic guitar a lot also. Excluding YA album this is probably the most romantic he gets. I also kind of laugh at the way some of the words sound funny. Then I remember Nina's songs. I love where it starts to pick up. The sound of acoustic guitar on this song is my favorite sound. Like the "distortion?". That's not the right word, but I hope you get the point ;)

Overall I have  to give this album a 8.5/10. All the songs on this album are quality songs. No single song on this album isn't good, but they aren't like the songs on Ziggy or Space Oddity or even Diamond Dogs. The album though, I think, isn't mind blowing. As time has gone on, and this album has sat with me, I like it more and more. But you know, I know this is an important period in his career, but that doesn't make a good album. Also, I'ven't heard all of Low or Lodger yet, so I can't judge them yet. All these songs are fun to sing alone with, and the lyrics aren't that hard to remember. If you think about it Space Oddity had its parts where it was psychedelic and it's parts where it would fit on a glam album. This album is kind of like that. 

Addition 7/28/13: This album, with more listens is a damn great album. That's why I'll award it a 9/10. And it is one of my favorite Bowie albums, and is definatly the slickest album I've ever heard. I wouldn't be surprised if that 9 turns to a 10 by the end of the year. Damn! David also said something, which I could never really think of how to say it or what it was, but said this is a "dark album". Look at this Richard Corey was everyone's idol and they loved him. But he obviously was troubled and had some darkness there. Lots of times everyone's heroes have more troubles than we think. Comedians usually have some type of problem, not all, but lots historically have. 

Transformer - Lou Reed

This is the sophomore solo album by ex-Velvet Underground lead singer, Lou Reed. Now I watched the Classic Albums doc on this and I gained a new appreciation for it. Before that this was one of those "I'll listen to it eventually" albums. Even though I knew that David Bowie produced the album. I heard a few songs from it and decided to do a review.

1. Vicious: I don't know if there is a specific reason, but I keep listening to this song. I don't think it's the best song on the album, but there is something about it that makes it catchy. This is a good way to start out an album. It gets your attention and it kind of keeps it. I like how the drums sound like a "metrognome". The lyrics are kind of dark. Not sadistic, but the type of dark that reminds me a little of One More Minute by "Weird Al". Tongue-and-cheek dark.
2. Andy's Chest: I guess this is about how Andy Warhol was shot. This is a decent song, I mean that I don't think it's mind blowing, but it's ok. I think that this track does have some significance to Lou. But you know, I just am not super into it. The more I hear it the better it gets, but for right now, I'm not in love with it.
3. Perfect Day: I was just, before I started the review, listening to Duran Duran's cover of this song off their Thank You album. The more I listen to it the better it gets. The more "perfect" it gets. Here are the legendary Mick Ronson strings. Damn, if I could have ever had the chance meet this guy. But I can't, :(. This song though has this pretty piano and the strings that go along with it. I mean, Damn.
4. Hangin' 'Round: This is a total Bowie song. I could almost see this being an outtake from Ziggy Stardust sessions. It's kind of uncanny about how much this is like one of those tracks. I'm assuming that it sounds like that because Bowie helped, but still. This reminds me of a song off that album.
5. Walk On The Wild Side: I love the way this song is. I don't love it, how it turned out, but it's amazing. That contradicts itself but I love the way this song is, the instrumentation, just the overall. I love the lyrics and love the way it IS, but I'm not in LOVE with it, if that makes sense? I think the way the instrumentation is and the whole overall idea about it is awesome, but I'm not crazy about how it turned out? I like it, but I wish it was a little more exciting. This is a relaxing track. I guess you could compare it to Soul Love.
6. Make Up: I'm not a huge fan of this song either. I get what it's talking about, but I don't think it's anything special. If I had a choice I'd probably skip this track, but it's not horrible.
7. Satellite Of Love: This song is just... it took me by surprise. I never really cared for The Velvets but after this song, I decided to check them out. They aren't as bad as I though, and I plan on reviewing one of their albums I've yet to touch later this month. This is by far my favorite song by Lou that I've heard. I heard a demo of this song from the Loaded deluxe album. Only that demo. It's not as good as this version. I do like it tough. It has one of my favorite chord progressions and is one of the funnest songs I know how to play. The whole "I've been told". This is my favorite part and it's so much fun to play along with. The ending that is like ad-libbed, it's great. I love David's high notes in that outro. Something I don't think he used enough on his, if at all, Next Day.
8. Wagon Wheel: This song reminds me of The Velvet Underground. I'm not huge on that band, but you know, it's not that terrible of a track. It's hard to live up to that last track.
9. New York Telephone Conversation: This is a fun song. I can honestly say I never though Lou Reed would do anything like this. Maybe David had an influence on him, but still. This is a silly song, and probably the most silly. I love this song, it's so weird that I don't think it could ever work unless Davey had something to do with it. This is a very fun song and I hope I could write a song almost as fun as this is to listen to.
10. I'm So Free: This song is a little more return to this sound of glam rock, more so than that last song. It actually reminds me of the Wagon Wheel track a little.
11. Goodnight Ladies: This is a great ending to this album. It's a bizarre and it's an awesome ender. It's like a glammed up version  of Good Night off 1968's self titled album The Beatles. Its a great track and if you've never heard it, I'd definitely listen to this first or second to Satellite.

Overall I have to give this album a 8.6/10. I understand this thing. Lou Reed seems like a guy who is dirty and one of those Factory Kids who hung with Warhol, but this is a silly album. It is the opposite of the dark Velvet Underground albums. Just listen to any track off this album, then any track off The Velvet Underground & Nico. David definitely know how to work magic. Most of this album is amazing, though there are some Ok parts, nothing is terrible or boring or bad.

The Next Day [Deluxe] - David Bowie

This is the latest, first in 10 years since 2003's Reality, studio album by the "Thin White Duke", "Ziggy Stardust", "The Goblin King" no one other than David Bowie. This is studio number 24, excluding the Tin Machine albums (in which case would probably be 26 then). Whatever the case he announced this album back on his 66th Birthday, earlier this year. I was surprised to hear this. I didn't expect much, but I NEEDED to buy at least one Bowie CD the day it comes out before I die. Now the only CD version they had was the deluxe version. Well I feel like I should explain how he has inspired me. I wrote a fucking concept album, at least the outline and had the songs arranged to it. Not written but I knew what I wanted. But I did it with a very Stardust inspired concept. I also wrote Captin Dave, inspired by Space Oddity, hence Captin "Major", Dave "Tom". And the line in return to space, "funky monkey junkie". This album was produced by Tony Visconti. He produced Space Oddity, The Man Who Sold The World, and some other things for David. Now, finally, This bitch is going up. I also figured, lets get this out of the way so I could do a Bob Seger System review.

1. The Next Day: I wasn't that crazy about this song the first few times I heard it. But after a few listens it kind of grew on me. This kind of reminds me of his 80's music. I don't know why, but it kind of does. But this song doesn't get as exciting with his vocals. Like he doesn't really excite like before. And the chorus of the song isn't really anything special. There is definitely an atmosphere to the song, but it doesn't really get me pumped, or relaxed. I don't think that this song really goes on for me other than just the beginning of the album. NOTE: 10/25/13; This song is one of my favs. I like it more than its original Beauty And The Beast. 
2. Dirty Boys: I kind of like the horns on this song. When I first heard it I thought of Dr. John. The only FULL, that's every track, album I've heard by him is Locked Down. I think it's Ok, but yeah this song totally reminds me of him. I think it's kind of cool that, thus far, there have been different styles. It's not just 17 sound a likes. I'm not saying I'm in love with this song, but I still think its cool. And I like the Japanese sounding thing during the chorus. The more I hear it though, the slicker it gets. If that makes any sense. I could see, maybe, The Thin White Duke singing this song.
3. The Stars (Are Out Tonight): The first time I heard this song was along with the music video. I thought it was odd, but I liked how his past "selves" were there. Just like Where Are We Now?'s music video, which was odd too, I enjoyed them. The only thing is that I wish David sang a little higher. You know, like on some of the older stuff. But it's not the end of the world. I wish the girl's voice "Out Tonight" was a little louder. I didn't pick up on it until I had headphones on. I also like the little "solo" part. Though there isn't really a solo.
4. Love Is Lost: This track hasn't really much for me. I don't know why, but you know, I feel like with more listens it has potential. I think this is a decent track, but it's not having the effect on me that Where Are We Now? has had. I do like the ending of the song a lot, I think it's really cool how it kind of gets epic.
5. Where Are We Now?: I didn't care for this song until I checked out a review of the album. I saw it the day before it came out in America. Consequence of Sound is awesome. I read that they mentioned that if "They could be "Heroes" just for one day" then this would be the next day. Something along those lines. And well then I listened to it again. And I liked it, a lot. From a different perspective  I thought it was like "Where am I now since I've not released an album in a decade". But I was wrong. This song has a bunch of Germany places mentioned. They were right. Now I'm gonna try to talk about myself. I think the keys are pretty and I like how he is singing the song soft. It does kind of remind me a little of "Heroes". This song is a song that I could see someone using for "That Love Song".  You know, when you're in love and you split up. Being a teen I kind of, more or less, know what that feels like.
6. Valentine's Day: I think it's kind of funny that the songs after "Where Is Our Relationship Currently" is Valentine's Day. The holiday for lovers. This song is good, but it's not amazing. There's just something there in this song that keeps me from falling for the track. This song will forever be the track you hear after you hear one of your favorite tracks on the CD to me. This song just seems like its about a boy who isn't very big, and in his "scrawny hand" he holds a Valentine card for someone. He want's to tell someone he love her, but he can't. It's kind of a sad, emotional (for me at least), song. I love the ending I like the "yeah's" and I like the way the song ends. That's a pretty cool sounding solo. It isn't Where Are We or So She but it's one of the best on this album.
7. If You Can See Me: This reminds me of like Earthling or something around that time period. This really reminds me of '90s music my parents used to listen to. I was born in '95. So I had 5 years of the 90's. And the 90's music didn't die in 2000 for my house. I don't think the music was as complex and had so much going on, but it vaguely reminds me of it. I also kind of think of hours..., thought I've never heard that album. I know, I should, but I haven't yet. I don't think this track is anything special.
8. I'd Rather Be High: He mentions something about war, and trading in guns. I think this somewhat relates to the theme on, I'm not 100% sure what song, but I think it's Running Gun Blues off 1970's The Man Who Sold The World. I know as a fact it's on that album, but I'm pretty sure it's that song. But yeah, I don't think anything special of this song either. I'm not knocking it, or the album, its just it hasn't really sparked my interest yet.
9. Boss Of Me: This reminds me a little of Heathen. I don't have a specific reason, but I could see this song being written at that period. Maybe more of less then or the 90's. I like the slap bass in this song, and I think it's cool how it's got this weird first impression on you. This reminds me a little of Dirty Boys too. And the sax reminds me of his glam period. I think the bridge of the song is pretty cool too.
10. Dancing Out In Space: This is like a weird version of Modern Love. It also reminds me a little of Yassassin off 1979's Lodger. The way the vocals are kind of odd, and it has a dance vibe to it.
11. How Does The Grass Grow?: The title of this song reminds me of Zappa's 1979 album Joe's Garage, Vol. II & III and the song He Used To Cut My Grass. Not musically, just title-lley. I really didn't think much of this song, based on the title, but with more and more listens, yes. It's a pretty good song that just needed to "grow" on me. This is a weird, and silly, song. But for some reason I love it. {8/10}
12. (You Will) Set The World On Fire: The way this song starts out I could see it being an 80's Glam Metal band song. It's actually pretty sick. I think that you don't necessarily have to like Bowie, but it is a harder song. Then the chorus reminds me of Never Let Me Down. Which I'm effie on that album, but whatever. This is still a "strong" song on this album.
13. You Feel So Lonely You Could Die: This kind of reminds me of doowop. It pretty much is a doowop song. It actually reminds me a lot of One More Minute by "Weird Al" off his 1985 Masterpiece Dare to Be Stupid. There is obviously parts where it doesn't but the main verses reminds me of that song. This is a pretty good song. This is kind of a romantic vibe to it, but the lyrics aren't so romantic. It's kind of angry. I like the drum rolls and the choir in the background. It's a good song. It also, with the backing vocals, reminds me of Still The Same by Bob Seger & The Silver Bullet Band and the part where it's the chorus and the female backing vocals come in and say the title of the song. The instrumental outro is pretty cool too.{8/10}
14. Heat: I'm not huge on this title of this song, but what am I gonna do. Call up Davie Jones and complain. No, I couldn't do that because that's stupid. When I first heard this track, I didn't know what to expect. It was one of "those". It actually, with the acoustic guitar buried, reminds me of Pink Floyd's 1977 song Dogs or 1979's classic, more so than the last, Comfortably Numb. This is a very eerie and bone chilling ending to this album.

Then here are the bonus tracks to the album. I'm glad that I got the deluxe version. Just like how I got the special editions of Disarm The Decent, Awakened, Ungrateful, Shadows Are Security, I still need the special edition of the oh so bad Music From Another Dimension.

1. So She: This is the only songs I fell in love with first time through. UGH! This song has actually become a sentimental song for me. I really like it, and it really means a lot to me. This is such a dreamy song. You could get lost in it, kind of like how you could get lost in Perfect Day off 1972's classic glam album Transformer. This though, is more Berlin Trilogy dreamy. Because of the ambience going on with the music. This reminds me a little of the how you could get lost in the "Heroes" album. That is the one, for me, that I think I get the most lost in.
2. Plan: I almost feel like this is a filler, but it's a bonus track?. But I think it's kind of supposed to be an instrumental prelude to the final bonus track.
3. I'll Take You There: This song seems like it's robotic. It's nothing amazing, but it's a decent track. I like the keys on the song. I do really like the part where it's kind of like the bridge. It's pretty sick, but the rest of the song isn't good enough for me to sit through the song to get to it. I just skip to that part.

Overall I have to give this, after much time listening and thinking, a 7.4/10. This album is an album that kind of needs, at least for me, to grow on you. Or you might have to digest it. This isn't a one time love it type of album. I've heard all the songs about a few dozen times and I finally feel I can give a good review. Hence me starting the review the day it came out and it going up today. And that's part of the reason it took forever. But this is a decent album and I'm glad it was released.

The Rise and Fall Of Ziggy Stardust and The Spiders From Mars - David Bowie

This is, though it came out in June, my review for this album. I figure with The Next Day on the trail only 3 days away why the fuck not review one of my Favorite albums ever. I could go on forever about Bowie and how him, and this album especially, helped influence my taste and songwriting. I wrote out an album, that was scraped, but was heavily Ziggy-era Bowie influenced. Frankly I want to start this review, so here is a quick factual bio. Released June 6th, 1972. First to feature Ziggy persona. Album number 5. Possibly his most famous album.

1. Five Years: This song starts out with a fade in of drums. Then guitar and Davie and piano comes in. This song is an awesome tone setter for the rest of the album. The chorus on this song, and the entire album, are so damn amazing. The piano in this song is very pretty. And when the strings come in and get louder. This song kind of "fades in" throughout the entire song. As the song progressively gets louder and everything comes in for the chorus.
2. Soul Love: I like the way this song starts out kind of slower. There is sax in the song. I like that this is different than the last song. It isn't completely repetitive like other albums by some bands. I'll leave that up for your interpretation. I like the way that David sings this one. The sax in this song is kind of "sexy"? I hope that makes sense. I could see someone dancing to this at a wedding. "Sexy" might not be the right word, but I still think that is could be considered "Romantic" sounding. I love the moans in the background. Then I love it how the song goes into more of a Ziggy sound. This song is a pretty cool, sick, smooth second track.
3. Moonage Daydream: I was reading that this is, story line wise, one of the most important songs. The guitar in this song is sick and the drum fills in between the "Moonage Daydream". UGH! The woodwind solo there is awesome. I think that the strings too. There is also a sick echo in this song. The solo pretty much blows my mind. The way the guitar in the solo is, it reminds me of something Pink Floyd might have done for the song Comfortably Numb or any song post Dark Side.
4. Starman: This song is more of an eargasm. Now I don't really know if I can tell you how much I love this song. The song is such a build up. This is one epic song. The guitar right after the chorus is awesome. I also think the chorus in the song is so..... YES!. The piano in between the verses and chrous that gives you a little suspense right before the chorus begins.
5. It Ain't Easy: It kind of bugs me when people cover songs for a concept album. Ah-la Eyesight To The Blind on the 1969 Who classic Tommy. It's a good song, but that's just my view on it. None the less, this is an awesome song. This song, along with the other songs, has such an epic chorus. The harpsichord in the verses and the stringsplosion that shows up in the chorus. Damn! 
6. Lady Stardust: Now, this is the only spot on the album where, in the beginning, kind of has a little dent. I think that this song is pretty sick, but it's probably my least favorite song. I know this sounds bad, but this is probably my only problem with this album. But, I don't think it would be the same without it. This song is more of a ballad and doesn't have that epicnessness to it. The piano is awesome in the song, but it doesn't really go anywhere.
7. Star: I don't know why he used the word star so many times in the tracklisting. None the less, this song is a pretty cool song. It isn't a Rock 'N' Roll Suicide but it's an awesome song. I like the instruments and the way they all play. I think the ending of the song is pretty sick, not quite "epic" but sick.
8. Hang On To Yourself: Here's an upbeat song. By that I mean it's more dance-able than the last two. This is a total song that I imagine Ziggy playing. This song is also super catchy. The bass line in this and the guitar solo that kind go hand and hand. It's sick. The band that David was using for this album is just a gift from God.
9. Ziggy Stardust: This song, instrumentally, is just so different, for me. I heard this, then was reintroduced to it in Guitar Hero. I think that this isn't quite a "ballad" but it isn't weird. It is just different type of "ballad". The refrains in this song are amazing. The slight "uh" during the refrains are pretty funny, but I think add to the song. The ending of this song is an awesome finish and perfect.
10. Suffragette City: I could kind of see T. Rex playing this song. They style, not the specific song. This song is a fun song. You can dance to this. The guitars tone in the solo is awesome. I love it so much. The piano in the background is pretty cool to. I love it so much.
11. Rock 'N' Roll Suicide: I don't know why, but I never really thought about this song being this song. I knew this song and thought it was awesome, but didn't realize it was Rock 'N' Roll Suicide. You know what I mean. This song is so epic. The way it starts out very calm and quiet after the last song, which was a pretty fast "exciting" song. The build in this song is just like, for me, Life On Mars? off 1971's Hunky Dory. The strings, by Mick Ronson?, are so Damn beautiful for both songs. I love the way the bass sounds in the 2012 Remaster. And the strings at the end. I would make love to this song playing in the background. This song is truly "Wonderful". 

Overall I have to give this album a 9.7/10. I love it. This has, not just memories, but an awe to it. I don't know how to explain it enough unless you experience this album. Damn, this 2012 Remaster is better than the dumb 'ole 1999 Version I got off iTunes 4 years ago. Part of what I think makes this album so awesome is every song on the album is epic. From the build ups to the strings to the choruses. I tip my hat to you Bowie in making one damn amazing album. I don't know enough descriptive words to explain how awesome this is. That's part of the reason I don't review Jazz, sorry Miles. If you want to make a decent album or make a decent song visit this album a few times first.