Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD)

Ashes to Ashes. Scary Monsters And Super Creeps. Under Pressure. Wild Is the Wind. Let's Dance. China Girl. Modern Love. Blue Jean. This Is Not America. Dancing in the Streets. It's one of the most progressive tracks on the album and one of its best, too. It represents the last step of Smith to the submission to the authority.

This is a very paranoid song with a variety of circling musical sounds and repetitive vocals, and with an abrupt and unexpected end to the album. This song is, with the previous song "Big Brother", one of the most progressive songs on the whole album.

Both tracks represent an unexpected grand final for this great album. Conclusion: Once more we are in presence of a great studio album of Bowie, the only truly and real chameleon artist. Strangely or not, he was able to make another surprisingly great studio album. This is Bowie's third classic studio album from his glam rock musical period.

It's probably the deepest and darkest studio album of Bowie and it's also the most paranoid, indecipherable, inscrutable and insane, too. It has an interesting concept and many new sounds while still continuing the nihilistic apocalyptic themes of the "Ziggy" era. The glam trash style is still there. So, this is a Bowie's album not to lose. This is a must for any classic Bowie's fan. Or is it the other way around? David Bowie had tried and tried and tried with different band constellations, artist names and style changes, releasing a handful of singles between and as well as his debut album in He had moved from rhythm and blues to cabaret and easy listening, but with little success.

The releases have showed some signs that Bowie had some unusual ideas, but the quality was mixed, and overall the songs were not outstanding enough to make an impact on a scene where other artists had done similar things, just way better.

But then in came a single that didn't sound like anything else. And I think most fans will agree this is where the story really begins. Indeed, almost all Greatest Hits compilations with David Bowie begin with "Space Oddity", or just have it as the oldest track.

It is also worth noticing, that the many CD re-releases of his albums begin with this, the album on which it appears thus omitting his debut album which has only been re-releaed separately, along with his early singles.

Most re-releases of the album have been entitled Space Oddity, probably to avoid confusion with the Deram album which was also titled David Bowie.

Let us begin with the title track and leave the other songs for later. For the first time, Bowie has written a truely original song. The melody is much more focused than anything he had written before, but a lot of praise should also be put on the creative arrangement. Clearly, there is an echo of psychedelic rock here as can be heard for instance in the cacophonic fade outbut in some ways I also find it kind of proggy laugh at me if you like ; there is a mellotron after all, but more importantly, the song abandons classic song structure.

The Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) "verse" "Ground control to Major Tom" never comes back for instance. Then there are the lyrics where we meet the astronaut Major Tom for the first time as he is leaving earth with his spaceship, but then something goes wrong, and the ground control a.

The tale of Major Tom who is lost in space could be interpreted in many ways, and consequently I have always found it kind of sad that the song "Ashes to Ashes" simply states that "We know Major Tom's a junkie". Surely there are other possibilities in understanding his space adventure than drugs, and I admire many Bowie songs for their ambiguity. Why kill that ambiguity? You can sense the nervousness about the spaceship taking off during the initial "verse": just listen to the uneasy harmonic structure.

In the "bridge" after the second "chorus" where ground control says "There's something wrong, can you hear me Major Tom? And I could go on, but it requires more time and space to deliver a full song analysis. The rest of the album differs a lot from the opening track, being mostly in the area of hippy'ish folk rock, and if you listen to these songs first, and then "Space Oddity" afterwards, the latter doesn't sound like it's from the same album.

The main reason probably being that the song "Space Oddity" was produced by Gus Dudgeon, whereas the rest of the album was produced by Tony Visconti - the first of many Bowie albums to be produced by him he dismissed "Space Oddity" as a "novelty song". For most part, the other songs are not nearly as strong. Indeed, long hypnotic fade-outs can be very effective, but it requires a stronger musical base.

It is quite catchy, but nowhere near the Beatles masterpiece in terms of musical intensity. It was unlisted on the original Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) release, but appeared as a hidden track between "Unwashed And Somewhat Slightly Dazed" and "Letter to Hermione". It was removed completely on the re-release, but re-inserted on later CD versions of the album.

It has an OK melody, but overall the music of the song is a bit anonymous. The story itself is touching enough, and we really feel sympathy for the old woman who steels the canned food, probably because she couldn't afford it. In any case, Bowie clearly sounds more comfortable here than in the easy listening universe of his first album. The best of the songs include "Letter to Hermione" which is a moody farewell to a woman. It has a haunting melody and some beautiful melancholic chord changes.

It contains a rather pompous orchestral arrangement which I am unsure of what to think of. One part of me thinks it is too much, Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) part praises the symphonic elements in it.

The most famous song apart from "Space Oddity" is probably "Cygnet Committee" which seems to be dealing with the flipside of the late 60's counterculture.

Centered around a spiritual leader or "thinker" as he is called in the song who is rejected by his followers, it touches a theme that was later touched in Ziggy Stardust, but one might also think of The Who's Tommy in this context the album came out in the same year after all. Quite stunning lyrics. However, I don't think the music in this song can really live up to its its words. Production-wise, there is a clear difference in quality between "Space Oddity" and the rest of the songs.

The title song is great sounding with a creative use of the stereo spectre epecially the vocals, but also the handclapsbut the rest of the album sounds a bit muddy. Clearly, Tony Visconti would improve as a producer later on, but of couse one also has to take the more limited studio technology of the time into consideration. In general, I think the real milestone of the album is "Space Oddity", deservingly a big classic, and one of Bowie's most famous songs.

This is where the "chameleom" truely came into his own. It is easy to hear why it became a single hit whereas the actual album didn't make much impact at the time. If you have read my album reviews of the man, you know that I am not at all in love with his soul period "Young Americans" and therefore "Fame" and "Golden Years" this one being featured on the excellent "Station To Station" album are not my cup of tea.

It is such a great trip into his most commercial repertoire. Is this the best entry for someone willing to tackle his repertoire? I don't know. There are no track from "The Man. But that's what a single collection is all about, right.

But don't worry, you will be so glad to listen to the extraordinary "Life On Mars", "Jean Genie", "Scary Monsters" and "Modern Love" that you will easily accept this double CD set for what it is: a great collection of songs which have marked the seventies and the eighties. I decided to pick this album for my 1,th review. Four stars for dear old David.

Fromthis 2 cd set has just about every singles release by David Bowie up to that time, from old stuff like "Ziggy Stardust", "Space Oddity" up through his recent, at thnat time songs "modern Love" and "Blue Jean". While I really enjoy the 70's David Bowie, I find he "popped out" and "discoed It is quite long ago that I bought this cd, thinking that in a decent cd collection, there should be something present of David Bowie.

In the past. Particullary, the last song is a very musical good song. Archived from the original on 12 May Retrieved 6 April Archived from the original on 1 August Retrieved 2 December Hung Medien. Archived from the original on 15 February Retrieved 13 March Archived from the original on 14 September Music Canada. Recording Industry Association of America. Archived from the original on 17 November Archived from the original on 7 April Retrieved 6 April — via YouTube.

Retrieved 19 June Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) Singles Chart. Retrieved August 11, Retrieved 21 June GfK Entertainment Charts. Retrieved August Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD), Rebel Rebel David Bowie.

Young Americans David Bowie. Golden Years David Bowie. TVC 15 David Bowie. Be My Wife David Bowie. Sound and Vision David Bowie. Beauty and Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) Beast David Bowie. Ashes to Ashes David Bowie. Fashion David Bowie.

David Bowie feat: Queen. Let's Dance David Bowie. Modern Love David Bowie. Blue Jean David Bowie. Loving the Alien David Bowie. David Bowie feat: Mick Jagger. Absolute Beginners David Bowie.

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Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Track Listing - Disc 1. Space Oddity. David Bowie. You Pretty Things. Life on Mars? Ziggy Stardust.

Another confusing song in a similar vein the the closing track "The Bewlay Brothers" with some - at least to me - totally incomprehensible lyrics, and another very interesting composition. My favourite part is probably the varispeed vocals in the outro which lead my thoughts to his later Berlin period - for instance "Beauty and the Beast" from Heroes.

Lyrically it is quite humorous: "He think about paint, and he think about glue, what a jolly boring thing to do". It is clearly the most Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) glam rock song on the album, foreshadowing both Ziggy Stardust and Aladdin Sane. Mick Ronson's trademark guitar sound is the highlight for me here. Only two songs can not entirely live up to the high standard.

The first is "Kooks" - a song written Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) his then newborn son Zowie. It most of all resembles the more lightweight corners of the 70's glam rock and there's another instant of the previously mentioned key change. However, on a different album it would shine as a great song, and the piano playing in the verse is great.

The last one is the cover song "Fill Your Heart", the closest the album gets to a filler. It is very lightweight, but fortunately Bowie adds some distance to it, almost parodying its happy-go-lucky feel, for instance with his vocal phrasing on the last "makes you FREE! And of course the delayed sax at the end crossfades perfectly into "Andy Warhol".

Still, despite not being as strong as the other songs, "Kooks" and "Fill Your Heart" do their job well in making the album hang together as a whole, and I couldn't imagine it without them. Hunky Dory is not a grand production. It is not particularly ambitious. Nor is it a concept album in any way. It's just a collection of damn good songs. The result is Bowie's first masterpiece album. More were to come This is a conceptual album with a mix of the novel "" by George Orwell and Bowie's personal artistic vision of a post apocalyptic world.

Originally, Bowie wanted to make a theatrical musical production of Orwell's novel and he began writing new material soon after completing the recording sessions of his previous studio album "Pin Ups". However, in the late, the author's estate of the novel denied him the legal rights to do so.

Then, he decided to make Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) a little different from the initial idea. The first track "Future Legend" is a spoken introduction, and it serves as a kind of a prologue to the album, with Bowie talking about a post apocalyptic description of New York, after a post nuclear war. The second track is the title track "Diamond Dogs". This is the lengthiest track on the album and is a fast rock song with a great chorus work.

It's a rock'n'roll song with clearly influences of The Rolling Stones. This is a more conventional rock song with a simple and traditional musical structure which, in my humble opinion, lacks to it some original creativity. The third track "Sweet Thing", the fourth track "Candidate" and the fifth track "Sweet Thing Reprise " is a kind of a musical suite and, in reality, they make part of only one song.

These are all great tracks with dread and dark tones that represent a kind of a dark tale of the big city. They're all songs with great chorus, beautiful musical performances, nice lyrics and fantastic instrumental sections. The final result is a truly great, pure, brilliant and beautiful musical moment of continuous suite music. These three tracks represent, for me, without any doubt, one of the highlights on the album.

The sixth track "Rebel Rebel", like the title track "Diamond Dogs", has nothing to do with progressive rock music. They're straight and pure rock'n'roll traditional songs in the style of The Rolling Stones. Here, we can clearly see homage to Keith Richards, with his performing guitar riffs, and to Mick Jagger, where the vocal performance of Bowie reminds us his unique style.

The seventh track "Rock'N'Roll With Me" is a very good and beautiful ballad with nice piano work and warm chorus. It's a song with a very simple musical structure and a nice tune too. This is a very lovely slow song, not too long and that became pleasant enough to listen to, even in our days. This is a slow keyboard ballad, very melodic and beautiful to listen to. It represents one of the darkest musical moments on the album with explicit lyrics and with a very dense dark musical atmosphere. The ninth track "" is clearly fully oriented by Orwell.

It represents the first musical sign of Bowie, to the soul music approach, which will be appeared on their next studio album "Young Americans". This is a very nice funky musical number with plenty of energy and creativity. The tenth track "Big Brother", like the previous track, is also a clearly fully Orwell oriented song.

It's an excellent song where Bowie's voice sounds very robotic, as a machine. This is a song with very pessimistic lyrics where the hero of the novel Winston Smith failed in his fighting against the dictator, Big Brother, and was converted as one of his followers. It's one of the most progressive tracks on the album and one of its best, too.

It represents the last step of Smith to the submission to the authority. This is a very paranoid song with a variety of circling musical sounds and repetitive vocals, and with an abrupt and unexpected end to the album. This song is, with the previous song "Big Brother", one of the most progressive songs on the whole album.

Both tracks represent an unexpected grand final for this great album. Conclusion: Once more we are in presence of a great studio album of Bowie, the only truly and real chameleon artist. Strangely or not, he was able to make another surprisingly great studio album. This is Bowie's third classic studio album from his glam rock musical period. It's probably the deepest and darkest studio album of Bowie and it's also the most paranoid, indecipherable, inscrutable and insane, too.

It has an interesting concept and many new sounds while still continuing the nihilistic apocalyptic themes of the "Ziggy" era. The glam trash style is still there. So, this is a Bowie's album not to lose. This is a must for any classic Bowie's fan. Or is it the other way around? David Bowie had tried and tried and tried with different band constellations, artist names and style changes, releasing a handful of singles between and as well as his debut album in He had moved from rhythm and blues to cabaret and easy listening, but with little success.

The releases have showed some signs that Bowie had some unusual ideas, but the quality was mixed, and overall the songs were not outstanding enough to make an impact on a scene where other artists had done similar things, just way better. But then in came a single that didn't sound like anything else. And I think most fans will agree this is where the story really begins.

Indeed, almost all Greatest Hits compilations with David Bowie begin with "Space Oddity", or just have it as the oldest track. It is also worth noticing, that the many CD re-releases of his albums begin with this, the album on which it appears thus omitting his debut album which has only been re-releaed separately, along with his early singles. Most re-releases of the album have been entitled Space Oddity, probably to avoid confusion with the Deram album which was also titled David Bowie.

Let us begin with the title track and leave the other songs for later. For the first time, Bowie has written a truely original song.

The melody is much more focused than anything he had written before, but a lot of praise should also be put on the creative arrangement. Advanced Search. Track Listing - Disc 1. Space Oddity.

Ziggy Stardust. Suffragette City. John, I'm Only Dancing. The Jean Genie. Drive in Saturday. Life on Mars? Rebel Rebel. Diamond Dogs. Knock On Wood. Young Americans. For the week of 27 September"Fame" dropped to number two behind John Denver's "I'm Sorry" for a week, before returning to the top spot for one final week, ultimately being replaced at number one by Neil Sedaka's "Bad Blood". Bowie would later claim that he had "absolutely no idea" that the song would do so well as a single, saying "I wouldn't know how to pick a single if it hit Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) in the face.

Dave Thompson of AllMusic calls the track "a hard-funking dance storm whose lyrics -- a hostile riposte on the personal cost of success -- utterly belie the upbeat tempo and feel of the song. According to biographer Chris O'Leary: [41]. Bowie wanted to remix a successful American single Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) the tour and album release; of the two options "Let's Dance" and "Fame""Let's Dance" was simply too recent.

Bowie liked the choice: "It covers a lot of ground, Fame; it stands up really well in time. It still sounds potent. It's quite a nasty, angry little song.

I quite like that. David Bowie's "Fame" was used as the soundtrack of an animated music video of the same title, directed by Richard Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD) and Mark Kirkland while students at California Institute of the Arts. From Wikipedia, the free encyclopedia. Redirected from Fame David Bowie song. Funk [1] funk rock [2]. Harry Maslin David Bowie.

The A to X of Alternative Music. ISBN Archived from the original on 5 July Retrieved 31 July Classic Rock Magazine. Archived from the original on 22 March Retrieved 4 February Q magazine : 60— April

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9 thoughts on “Modern Love - Bowie* - The Singles 1969 To 1993 Featuring His Greatest Hits (CD)

  1. View credits, reviews, tracks and shop for the Cassette release of The Singles To (Featuring His Greatest Hits) on Discogs. Label: Ryko Analogue - RCD /19 • Format: 2x, Cassette .

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  6. "Modern Love" is a song written by English singer-songwriter David Bowie. It was released as the opening track on his album Let's Dance and issued as the third single from the album later in the year. Co-produced by Bowie and Nile Rodgers of the American band Chic, the song is a rock song that contains elements of new wave blueskyservices.biz was recorded at the Power Station in Manhattan and was.

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