What else is there to say but, “I’m the boss, this is champagne, Merry Christmas!”

I recant from my earlier stated positions about Bowie’s post 80s output and have to say that I’ve found several nuggets that could stand some comparison with his 70s masterpieces. Of course, I haven’t taken complete leave of my senses and so, good as ‘Outside’s ‘ highlights are, they don’t match the majesty of the best of the earlier works. But who else could stand such similar scrutiny, too?

I’ve expected too much from Bowie, perhaps because he spoiled us so in the 70s, and recognise that I’ve not been fair to the later songs and work. Mind you, I’d defend him to the last where ignorant non-fans are concerned…

Only Dylan can match his longevity and relative consistency and nearly all of his other 60s and 70s peers have fallen by the wayside in an embarassing melange of cash chasing dross (Rod Stewart, whose last great record was ‘Every Picture Tells a Story’ from 1971. Marcus Greil was spot on when he said of Stewart, “Rarely has a singer had as full and unique a talent as Rod Stewart; rarely has anyone betrayed his talent so completely.”) and MOR induced catatonia (Step forward, Elton, whose last great record, ‘Goodbye Yellow Brick Road’ is only 40 years old!) So bring it on, Chris, and thanks for rekindling a love that was dying a disinterested death.

I’m surprised you haven’t connected Dalton Trumbo’s ‘Johnny Got His Gun’ to this song as that expression ‘Johnny Got His…’ is definitively linked to Trumbo’s book and later film. I have no way of proving it but surely Bowie would have been aware of the book and if his lines beginning ‘Johnny got …’ were not taken directly from Trumbo then they were sourced from elsewhere that had been influenced by this book. It’s too similar a line to be coincidental and it absolutely would fit perfectly and approriately into this song. Perhaps there was a copyright issue over the line ‘Johnny got his gun’? Any ideas on this, Chris?

Other than that, agree with most people here about the lack of connection with this song and its general sense of being marooned betwixt ‘Outside’ and ‘Earthling’. Works live, though, as that ‘quiet into loud’ sonic boom brings out the Pavlovian dog in us all…!

Saw the ‘Earthling’ tour at a small venue in Manchester and apart from a fabulously evocative ‘Quicksand’ and the fact that we weren’t in a bloody football stadium, it was all a bit of a mess. I was embarassed by the techno-hip-hop tomfoolery in a live context. He played ‘V2 Schneider’, and it’s the one and only time I’ve ever seen him play it in 15 attendances at his shows, but if he hadn’t told us the song’s title in his intro we’d have all been none the wiser, such was the complete transformation of the song. I wasn’t happy about that…Ha-ha! David, if it ain’t broke…

Great write up as ever and joyously reaffirming to read all the commentators positive critiques of the later records. I’m a fan again.

Great write up!

* also known as MURKANS.

I don’t know why Bowiephiles tend to overlook it. Very little filler on that album, lots of killer. “Scary Monster’s” ecstasy-pumped twin, it produces greater thrills than “Outside” in certain listening environments. Gail Ann Dorsey and Zack Alford give Mr. Jones quite a kick up the backside and, in doing so, propel “Reeves Guitar on Gabrels” to his strongest performances and best arrangements. I agree that “Americans” is one of the weaker tracks, but the disc’s overall aggression has aged well.

I’m looking forward to the rest of these reviews to see if our friendly blogger agrees.