Album Poll, Day 2: 19-11

jimmyk

We reach the middleweight section of the album poll: those that wound up ranked between 19 and 11, by you (don’t blame me).

We begin with what was once, for a time, Bowie’s “last” album:

reality

19. Reality (25 points/votes).

It is ironic. You haven’t seen the artwork yet, but there’s a fakeness to the cover that undermines that. It’s the old chestnut: What is real and what isn’t? It’s actually about who’s stolen this world.

Bowie, 2003.

Reality ends up changing in the wake of Bowie’s return. The fact was that his disappearance made Reality a better album. Not that it was bad, ever, but the only reason it was important at all was because of its status as “The Last One.”…The Next Day was hell on Reality because it made Reality have to stand on its own legs as an album for almost the first time. In its defense, the only real difference is that now we *really* wish ‘Try Some Buy Some’ was a B-Side.

Ian McDuffie.

R-2476469-1449887234-7440.png

18. David Bowie aka Space Oddity aka Man of Words/Man of Music (28 points/votes).

I’ve been the male equivalent of the dumb blonde for a few years, and I was beginning to despair of people accepting me for my music. It may be fine for a male model to be told he’s a great looking guy, but that doesn’t help a singer much, especially now that the pretty boy personality cult seems to be on the way out.

My songs are all from the heart, and they are wholly personal to me, and I would like people to accept them as such. I dearly want to be recognized as a writer, but I would ask them not to get too deeply into my songs. As likely as not, there’s nothing there but the words and music you hear at one listening…I see you’ve noticed that my songs are seldom about boy and girl relationships. That’s because I’ve never had any traumas with girls.

Bowie, NME interview, 1969.

David Bowie can be viewed in retrospect as all that Bowie had been and a little of what he would become, all jumbled up and fighting for control: a rag-bag of ideas all getting in each other’s way.

Charles Shaar Murray and Roy Carr.

brazilbuddha

17. The Buddha of Suburbia (42 points, 34 votes, 2 #1 votes).

One idea pulled another behind it, like conjurers’ handkerchiefs…I felt more solid myself, and not as if my mind were just a kind of cinema for myriad impressions and emotions to flicker through.

Hanif Kureishi, The Buddha of Suburbia.

I spent so much time in my bedroom [in Bromley]. It really was my entire world. I had books up there, my music up there, my record player. Going from my world upstairs out onto the street, I had to pass through this no-man’s-land of the living room, you know, and out the front hall.

Bowie, 1990.

lets

16. Let’s Dance (50 points/votes, highest-ranked LP to get no #1s).

A friend of mine who heard this record before I did told me that he was rather disappointed by it. “It’s got guitar solos all over it,” he announced in the sort of tone that you might use for telling somebody that there is a large, maggoty dog turd on their new jacket. Despite the expectation that the combination of Bowie and Nile Rodgers would result in the kind of immaculately tortured but immaculately deft angst-funk that seems in vogue in certain quarters, the actual result is something quite different: some of the strongest, simplest and least complicated music that Bowie has ever made. Let’s Dance is clean, straight and…huge.

Charles Shaar Murray, LP review, NME, 1983.

I think I’m just a little tired of experimentation now…there is a proliferation of synthetic instruments being used in that kind of, er, Me generation icy cold vein. I feel it’s very hard to use those instruments without a kind of preconditioning already there. That if you use the synthesizer it means this particular thing; that I’m part of this angular society.

So that’s why I’ve used a very organic, basic instrumentation on this new album. Such instrumentation doesn’t say anything other than it comes from a hybrid of white and black culture. That is the only underlying subtext it has really…As I say, experimentation can be rewarding for finding awkward stances musically. But it just isn’t satisfying after a while. And it’s not satisfying because it’s not very useful, except – as Brian Eno would say – for setting up a new kind of vocabulary. Now I’ve got the vocabulary I’m supposed to do something with it! Ha ha!

Bowie, 1983.

rosie

15. Earthling (57 points, 49 votes, 2 #1 votes).

I’ve been featured in a long-running cartoon in Britain as being a rather disengaged culture vulture. A bit of a mad pilot that kind of flies from avant-garde trees, making this nest out of glittering jewels that belong to other beings. Well, I guess that’s me. The thing is, I agree with all that, and I don’t see anything wrong in that. Yes, that’s what I do. I’m a contagious, infectious enthusiast. It’s what I like doing.

Bowie, 1997.

What’s great about him in that he’s constantly looking for new input. There’s all this stuff going on around us, and it’s so easy to just shut it out because it’s too much. Instead, he just wades right in, like an old lady at a basement sale. Instead of going through racks of clothes, he’s going through racks of ideas, pulling out what interests him.

Reeves Gabrels, on Bowie, 1997.

and the first notable jump in votes:

tnd

14. The Next Day (98 points, 94 votes, 1 #1 vote, 2 voters specified Next Day Extra).

Effigies Indulgences Anarchist Violence Chthonic Intimidation Vampyric Pantheon Succubus Hostage Transference Identity Mauer Interface Flitting Isolation Revenge Osmosis Crusade Tyrant Domination Indifference Miasma Pressgang Displaced Flight Resettlement Funereal Glide Trace Balkan Burial Reverse Manipulate Origin Text Traitor Urban Comeuppance Tragic Nerve Mystification

Bowie’s “work flow diagram” for The Next Day, sent to Rick Moody, 2013.

Stay-At-Home Bowie isn’t boring, however…In fact, it’s one of the most interesting evolutions of Bowie’s public persona. He’s taken a conception of himself forced upon him by popular culture, an idea created in his absence from the public eye. It’s also a character that is forced upon him by the passage of time: he simply is older now. And he’s playing up to that, to a degree. He’s also raging against it, subverting it, adding to it, and generally not doing the sort of things you’d expect David Bowie to do. Plus, Bowie getting old and revelling in it: that has the same sort of rebellious spirit as modern-day Bob Dylan, his protest song period long behind him, putting out a record of Christmas standards.

“A Sitting Ovation.”

mwh8

13. The Man Who Sold The World (112 points, 104 votes, 2 #1 votes).

Tony Visconti’s compressed production gives the album an utterly synthetic audio quality: few records this simply played sound as studio-created.

Trouser Press Record Guide, 3rd edition.

It’s clearly the beginning of the Spiders from Mars…Though that band was yet to be invented, technically, it’s a logical extension of what was going on with The Man Who Sold The World. It was a pivotal album in that it gave [Bowie] a taste of what it was like to be in a rock band.

Tony Visconti.

It was all family problems and analogies put into science-fiction form.

Bowie, on MWSTW, 1976.

dbheathn

12. Heathen (150 points, 134 votes, 4 #1 votes).

Especially in one’s mid-fifties, you’re very aware that that’s the moment you have to leave off the idea of being young. You’ve got to let it go.

Bowie, Interview, 2002.

Heathen will surely be condemned by those who cannot forgive him for his past greatness, and will likely be loved by a few who still imagine strains of “Space Oddity” beneath its refrains. It’s hard to shake the thought that even thirty years later, some people still seem to be expecting another Ziggy.

Eric Carr, review, Pitchfork, 2002.

Heathen was written in the mountains, and kind of feels like that, I think.

Bowie, 2002.

taylor

11. Young Americans (157 points, 137 votes, 5 #1 votes).

Bowie played [Young Americans] for the ten blissed-out, formerly camped-out, devotees, who’d been ushered into the studio, finally, at 5 am by Stuart George. With wine, tears and adulation flowing around and from the blessed, Bowie was an affable host as he signed more autographs, apologized for the unfinished mix of the album and agreed to play it a second time, at which point the party erupted into dance. Bowie took center floor with a foxy stomp.

Rolling Stone, 1974.

My own recent music has been good, plastic soul, I think. It’s not very complex, but it’s enjoyable to write. I did most of it in the studio. It doesn’t take very long to write…about ten, 15 minutes a song. I mean, with Young Americans I thought I’d better make a hit album to cement myself over here [the U.S.], so I went in and did it. It wasn’t too hard, really.

Bowie, Melody Maker, 1976.

Next: the Top 10. Oy Vey Baby still has a shot.

Photos: mostly Discogs. Also: amateur painter, 2014 (Jimmy King); “According to G,” Next Day promo posters, NYC, 2013; Bowie at an HMV promo for Heathen, 2002 (unknown photog); Ms. Swift & Young Americans (ASOS).

87 Responses to Album Poll, Day 2: 19-11

  1. V2David says:

    Great job as always! I would have liked to see Heathen a little higher then #12, but any Bowie album in the Top 15 is a pretty damn good! Especially when you are looking at it in the company of Young Americans & TMWSTW and The Next Day. Glad to see the love for Heathen which usually doesn’t get as much love as it deserves.

  2. V2David says:

    Also by the jump in votes at #14, it looks like when we talk about great Bowie albums we have a Top 14. I wonder how Blackstar would have faired. My guess is it would have been included in the jump (even if towards the tail-end) and we would have a true Top 15.

  3. steven says:

    I’m genuinely thrilled that Outside (not my #1 but the only other album that could’ve been) must have had a strong showing. I feel like here’s one of the few places it would.

    • V2David says:

      Yeah Outside is definitely a Top 10 with us Bowie fans. But if you took a poll on a non-devoted Bowie site, Outside doesn’t sniff the Top 10 and Let’s Dance is in it! But that’s what makes this poll and the songs poll so great…

    • alex says:

      I was about to post this exact same thing.

    • Dave L says:

      And now we know — without question anymore — that Outside is “the best Bowie album since Scary Monsters”! heh heh

  4. ecsongbysong says:

    It’s so hard to remember how I felt about a lot of this music prior to reading Chris’s examinations of it, but it’s also hard not to think “Buddha” has placed higher here than it might have if readers hadn’t been treated to such sensitive teasings-out of its finer points on the blog. I’ve always loved that record, but I’d been baffled by so much of it at the same time, and I never quite knew what to make of it. Perhaps my favorite moment of all the pleasurable hours I’ve spent reading “Pushing Ahead Of The Dame” came when “Untitled No. 1,” which had always seemed like pleasant elevator music, suddenly leaped out at me as a masterpiece thanks to Chris’s post on it. All this is to say, I’m glad to find a record as good as “Buddha of Suburbia” enjoying the benefits of having finally found an ideal listener, and one willing to share his insights with the rest of us. Looking forward to seeing how things shake out with the top ten!

    • fantailfan says:

      In my case that is true.

    • V2David says:

      Yeah Buddah is definitely a great Bowie album in it’s own right, but it is still pretty obscure, even to many Bowie fans(!) But i think #17 is still a very strong showing, when you consider fans only listed their Top 10.

      • roobin101 says:

        Bowie Black Tie to Leon has been my big discovery through this blog. I was a nineties child. In ye days of olde I accumulated all the classic albums, plus 1.Outside, but loved the Berlin stuff most. There came a point where my Bowie portion of the shelf was full. I didn’t need any more… so I thought.

  5. Bob Whiting says:

    “Next: the Top 10. Oy Vey Baby still has a shot.”

    Rumour has it it’s at No. 3. Behind Dollars In Drag and iSelect

  6. I voted for Earthling, Heathen, and Young Americans. I’m pretty confident my other 7 will make the top 10. Otherwise I’m gonna “Screeeam like a baby”.

  7. fantailfan says:

    Looking at the 8-track listing for TMWSTW, God what a travesty that was. My brother had an 8-track in his car, which is where I first heard David Live, among other classics of 1973-1974. When he was handed down my Dad’s 1972 Corona wagon in 1975, the first thing he did was put in a cassette player.

  8. It seems eight of my picks will be in the top ten. I’m very happy to see Outside is apparently a top 10 album, and Heathen being so close! While we pretty much know by now what the top picks are (sorry, Oy Vey!), I’m really eager to see which album took the top spot, since I think my horse has a shot at winning the race!

  9. Oh, I forgot to mention that Taylor Swit pic is superb.

    • V2David says:

      Definitely, but not surprising. My Top 10 were all in the Top 12 (I have Heathen & Young Americans instead of Lodger & Station to Station). In retrospect, I can’t believe I left Station to Station out of my Top 10, but this Top 10 was hard & I wanted to show some love to Heathen. It will be interesting to see the order though. I have Hunky Dory #1, but I could see the Bowie connoisseurs putting Low #1. And perhaps no album has more hits then Ziggy, so I expect it to finish high.

    • Bowietie Daddy says:

      It’s a blow below the belt. Pictures like that can destroy the reputation of an album.

  10. fantailfan says:

    So the top 10 will be all seventies except the only album (co-)produced by Eno. I have written down my predictions for the order of the top 10.

    • Frank says:

      So have I. For me it might look like this (not to be confused with my personal choice, but I have to admit that there is only one album in this list which is not in my personal top ten, and I put it at No. 1):

      1. Ziggy Stardust
      2. Hunky Dory
      3. Low
      4. Station to Station
      5. Diamond Dogs
      6. Heroes
      7. Aladdin Sane
      8. Scary Monsters
      9. Lodger
      10. Outside

      But I wouldn’t be surprised, if Low, Hunky Dory or even Station to Station would make it to No. 1. Probably I am completely wrong, we will see tomorrow…

      • Dave L says:

        Yep that’s roughly what I would predict, with the top 4 interchangeable … I’m guessing Low gets #1 though.

  11. You’re probably right, if you consider 1980 as part of the 70s.

    • V2David says:

      Yeah Scary Monsters…Bowie’s 1980 album which everyone groups with his 70s stuff. “…Bowie’s Best Since Scary Monsters”

    • Vinnie says:

      Does a decade really begin the first year? Even though Scary Monsters was recorded in the first few months of “1980”, don’t you think it reflects “Berlin”? What is time, anyway?

      Do you really think the “1980s” is reflected in Scary Monsters? I do not. Scary Monsters is the last dying scream of 1970s Bowie, for better, or for worse.

      • col1234 says:

        a long debate but for me:
        postwar: 1945-1952
        “long Fifties” 1953-1963
        “Mod Sixties” 1964-1967
        “the Sixties” 1968-1974
        “Seventies hangover”: 1975-1976
        “murky ‘late’ Seventies era” 1977-1982
        “high Eighties” 1983-1987
        pre-Nineties: 1988-1992
        and so on

      • Paul O says:

        Exactly.

    • fantailfan says:

      I made the (mistaken) assumption that all “classic” Bowie (which may or may not include Space Oddity) were all from the 70s.

  12. Robert says:

    Only 2 of my Top Ten showing up so far, which makes me feel uncomfortably close to the consensus opinion. There’s something very un-Bowie about that…

  13. scarymonster says:

    Well, only two of mine have appeared outside the 10 (and in the Top 12 at that) so I guess I’m also too close to the consensus for comfort. I’m still glad I ditched Aladdin for Heathen and to have excluded ‘Heroes’ from both track and album selections.

  14. King of Oblivion says:

    I’m pleased to see Earthling (my personal “most underrated”) placing ahead of Let’s Dance!

  15. audiophd says:

    Lodger over Young Americans? You crazy kids!!!

    • billter says:

      Yeah, I was just about to say…people think there are 10 Bowie albums better than “Young Americans”? It’s truly an ever-surprising world in which we live.

    • Vinnie says:

      *Puts on “Boys Keep Swinging”, dances to Lodger, thinks about all the suburban dads who love Young Americans*

      But really, I think Young Americans** is the weakest Bowie record of the 1970s, and that a bunch of suburbanite dads love it (in my experience) only solidifies it as “plastic” in the least cool way possible.

      • billter says:

        Well, ahem…suburbanite dads are people too. And the idea that more difficult=cooler is reactionary hipster bulls**t.

      • Vinnie says:

        Hey billter, let’s all be friends, not h8rs

        But really, I don’t love Young Americans as much as Lodger, but it’s an opinion. I suppose my comment was meant to be in jest, but humor comes across poorly online. I’m comfortable enough with the commenters here that I just assume we all mean the best when we say anything.. because we all love Bowie and care enough to comment on this blog.

        But maybe not ¯\_(ツ)_/¯

      • billter says:

        Olive branch accepted. But I think it would be better from the beginning to keep things on the level of disagreements in taste, rather than ad hominem comments about one’s age and/or class. You like Lodger better than YA, no problem. But keep the snark out of it.

    • Paul O says:

      You win some, you lose some…I’ll accept Young Americans (one of three albums tied at #3 on my list) at #11 as long as Let’s Dance got shut out of the Top 15.

    • King of Oblivion says:

      Though I love YA today, the pain of Bowie ‘betraying’ glam still lingers… little did I know what lay ahead in the ’80s!

      • Paul O says:

        The glam “betrayal” was the only one I fully embraced, R&B fanatic that I am.

      • Brendan O'Lear says:

        Yes, I have still have lingering pangs of guilt for ignoring YA at the time in favor of Slaughter on 10th Avenue.

    • fantailfan says:

      Neither are on my list.

  16. Vinnie says:

    There’s an old NIN.com interview with Trent Reznor where he’s asked what his favorite Bowie album is.

    “Scary Monsters, Low, Hunky Dory – changes with the weather” (sic)

    I can’t help but agree

    Dice roll! What’s the top five? And what will the top five be if re-polled in two weeks or two years’ time?

  17. roobin101 says:

    I’m so glad Buddha… has made it.

    • Dave L says:

      Agree, would have liked to see top 10, but 17 ain’t bad for an album that I didn’t even know existed until it was covered on this blog.

  18. Paul O says:

    Now that three of my Top 11 (David Live, The Idiot and Young Americans) are already accounted for, I’m just curious how the other eight will place in the consensus Top 10…and which one is No. 1. Something tells me it’s gonna be me Low (my No. 10) or …Ziggy… (my No. 2).

  19. MrBelm says:

    Seven of my picks will be in the top 10. I think it’s a toss-up between Low and Station to Station.

  20. roobin101 says:

    Sorry – double post. Feel free to delete this one.

  21. ecsongbysong says:

    In a perfect world, “Diamond Dogs” would dark-horse its way to #1.

  22. Sky-Possessing Spider says:

    aaarrrrggghh! I’m absolutely GUTTED that The Man Who Sold The World, my all-time favourite album EVER didn’t even male the top 10. thirteen? effing thirteen – behind Heathen ffs. That’ll be all you lot who think that Slow Bore is some kind of latter-day masterpiece then.

    • V2David says:

      I do think Everyone Says Hi, Slip Away & Heathen (The Rays) are all masterpieces. Throw in a very solid & underestimated single, Slow Burn, as well as Sunday and you have a great Bowie album.

      TMWSTW is a great Bowie album too though. There really are at least 15 great Howie albums, and any could be argued to be in the Top 10 as well as a few others…

      • Sky-Possessing Spider says:

        Yeah, don’t get me wrong Heathen is a good solid late-period album, but TMWSTW is a work of dark genius, soaked in some of the most incendiary string bending that the late great Mick Ronson ever committed to vinyl.
        From the utterly brilliant Width Of A Circle (my number 1 ever Bowie track), the title track as covered by everyone from Nirvana, Tony Hadley, Ed Kuepper et al, to the downright spooky After All and The Supermen to the digital age forewarning of Saviour Machine, it’s just a FANTASTIC album.
        It’s an absolute crime that it didn’t make the top ten.

      • Paul O says:

        A friend just told me he’s seeing Visconti perform TMWSTW in its entirety on Saturday. I’m dying here…

    • Bruised Passivity says:

      Lol! even though I’m one of the 4 who gave Heathen my #1, you’re rant has given me the biggest laugh today. SLOW Bore, ha, ha, ha. Priceless.🙂

  23. Ramzi says:

    Prediction in descending order:
    Lodger
    Outside
    Aladdin Sane
    Diamond Dogs
    Hunky Dory
    Scary Monsters
    Heroes
    Ziggy Stardust
    Station to Station
    Low

    • Vinnie says:

      When I was 15 to 24 (or 25) I always thought Low was “the one”, and now, Station to Station, because I need that funk. I never know how other people feel about this, because both records are so close to my heart.

      Really? I hope for Diamond Dogs – it’s the weirdest, it’s a mashup of a million ideas, and it’s under-loved. I would go to the stake for Diamond Dogs, if required. As ecsongbysong said above – it’s the “Dark Horse” candidate. (And it features.. “Candidate”!)

      “This ain’t rock and roll, this is genocide!”

    • Paul O says:

      I’ll play:

      (also from 10 to 1)
      “Heroes”
      Outside
      Lodger
      Diamond Dogs
      Aladdin Sane
      Hunky Dory
      Station to Station
      Scary Monsters (and Super Creeps)
      The Rise and Fall of Ziggy Stardust and the Spiders from Mars
      Low

      with some ties.

  24. cansorian says:

    Let’s Dance ahead of Buddha?!! The Horror, The Horror! Those two albums represent opposite ends of the spectrum to me.

    Let’s Dance was the first step in Bowie’s long slow slide from brilliant innovator to cheesy mass appeal lowest common denominator bottle blonde mover of “product”. There’s a definite through line from his murder of “China Girl” on Let’s Dance to his neutering of “Tonight” on Tonight to his overblown 80’s shoulder padding of “Bang Bang” on NLMD. Glad he helped Iggy’s wallet but did he have to commit song-a-cide to do it?

    On the other hand, The Buddha of Suburbia represents his climb out of the cradle of mediocrity back into being a real musical force. I think it’s the album that allowed him the freedom to test his creatively again in a relatively low stakes way. That fact that he felt that he succeeded (I believe he stated that it’s his favorite album of his) led him to one of his mid career highlights, Outside (can someone please change it from “his best album since Scary Monsters” to “his best album since Outside”). Since then he’s done some really amazing work, with a few exceptions, right up until the present day.

    Buddha is also the album where I wisely gave Bowie a second chance, so I really hold it in high esteem.

    Also, a picture of the label of the vinyl version of the album, my Bowie holy grail? Ya killing me!

    • Anonymous says:

      I really really really love Let’s Dance. For me it’s the album which I put on, when springtime and sunrays come. I think Bowie made one of the few good 80s records, that you still can put on today without being embarrassed.
      Buddha was a very warm surprise, I like a lot of stuff on it. But for me it does not work as an album, more as a puzzle of things (with some pieces missing in it).

      … and I adore Heroes and Scary Monsters too…

      DBA

    • ric says:

      with you there, cansorian, esp. on the second chance

  25. tarff26 says:

    3 of my selections have placed so far. I can’t imagine any of the remaining 7 are obscure enough not to make the Top Ten. With that assumption in mind I’m delighted that Outside appears to be ranked so highly.

    • tarff26 says:

      Also, while I appreciate Ian McDuffies astute observations on the later fate of Reality (full disclosure: it’s in my 10), I have to say that the arrival of The Next Day freed up Reality and allowed me to listen to it. I didn’t want to listen to it before, precisely because it was the last one. What if it was crap? I had enjoyed Heathen, the first half dozen tracks at least, but could never bring myself to pull out Reality (and that awful cover art).

  26. colincidence says:

    What cartoon is David referring to in the Earthling quote?

  27. President Joan says:

    To me, there are 11 necessary albums. And thankfully, after reading the countdown to #12., all “my” eleven remained. Conclusion? Well, I guess we seem to agree that the 70s was the Bowie era and that Eno is a #1 collaborator.

    For top10, I’d predict Low even though Scary Monsters is my personal #1. ‘Scary’ was my first Bowie album … I was 15 years old when it came out and Fashion pumped my pulse on the, er, dance floor. I will never forget that.

    (Hm, Writing this comment, I checked the lyrics of Fashion on the Internet and I’m puzzled. I was convinced the lyrics was the wonderful “shout it while they’re dancing on the, er, dance floor“ but there seem to be some debate regarding this?)

  28. Paul O says:

    I’ve always thought it was “You shout it while you’re dancing on the-uh dance floor…”

    • President Joan says:

      Yes, exactly Paul!

      But googling, I get things like
      You shout it while you’re dancing on the whole dance floor
      Or
      You shout it while you’re dancing on the ole dance floor

      But it’s cool. If you check this in Chris’s post on Fashion he confirms our impression of hesitation (‘er’ ‘uh’). (Heh, as is usual, he is brilliant, even poetic:)

      “Then there’s the wonderful way that Bowie takes what seems like a lyrical misstep in the second verse, his words not really fitting the meter (“shout it while they’re dancing on the dance floor“), and makes it a miniature performance: he puts weight on “the,” drags it up an octave and extends it far beyond its means, suggesting the image of someone trying to foot their way onto a crowded dance floor.”

      • col1234 says:

        it’s gotta be ” the—uh dance floor.” one of the great bowie “mistakes.” there’s really a debate that he’s saying something else?

      • President Joan says:

        Er, sorry, Chris. No, I meant that as a question. Is there a debate since I found several other lyrics? But I realize I was right and it indeed is a great “mistake”. Thanks for the input and sorry for the confusion.🙂

      • Paul O says:

        Not so much a debate as various mis-hearings transcribed and posted on lyrics websites.

      • BenJ says:

        “Whole dance floor” is in the lyrics at genius.com. Can understand why the contributor felt the need for another word there, but it’s definitely a deliberate Bowie stammer if you listen.

        “Dancing on the whole dance floor” sounds like a failed fat joke.

      • Paul O says:

        Also watch the video. He sings the line in closeup (at about 2:02) and clearly makes the “the” a multi-syllabic word.

      • President Joan says:

        Thanks for all input. Clever to watch the video, Paul.🙂

        Well, if there wasn’t a debate before, I guess I accidentally started one here. And since we all seem to be on the same side I guess the verdict is clear. My mistake! (though not as brilliant as Bowie’s …)

      • President Joan says:

        This may be old news to others, but I just realized there are lyrics at davidbowie.com.

        Of course, our verdict on Fashion was confirmed (“You shout it while you’re dancing on the – er dance floor”), but there might be other “real” debates that can be solved (or fueled) by checking the Man’s own site …?

  29. MC says:

    Ok, 2 of my Top 10 have made it so far, Heathen and The Next Day. For the rest, I’m really glad Buddha ranked as high as it did. It’s my favourite of DB’s 90’s albums, and just skirted my list: it would probably rank for me just behind Diamond Dogs. Looking forward to tomorrow’s poll results!

  30. Bruised Passivity says:

    I think it’s interesting that one of his earliest albums (Space Oddity) is nearly tied with one of his later in life albums (Reality) because despite some the sonic soundscape differences and lyric content they are actually quite similar creatures. Mixed bag albums with both the sublime and the mediocre, I never noticed that before. I love where this blog and it’s community takes my mind sometimes.

  31. comicalArchitect says:

    YES. Lodger and Outside both in Top 10. All I wanted out of this poll.

  32. crayontocrayon says:

    Slightly surprised TMWSTW didn’t do a little better, it’s arguably Ronson’s best and was in my top 5 at the time that I voted.
    Eager to see the top ten, how high can Outside climb? Which of the 70s classic fared worst?

  33. Maj says:

    Now we get to me being surprised. Happy for Heathen. I was deciding between it & the Ball EP and afterwards felt a bit cross w/ myself that it didn’t end up in my top 10 and voila! above TMWSTW, Buddha, Space Oddity and Let’s Dance…150 points…not too shabby at all.

    And fun fact: I didn’t vote for any of these albums, which means…8 of my top 10 are in everyone’s top 10. Yeah, not very underground any more am I.

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