Common themes you'll find with a lot of David Bowie's music are isolation and alienation. Most of what he did musically wasn't popular before he did it, and he wanted it better represented because he felt other people should be able to hear it and love it as much as he did. He wrote a lot of music as an outcast to provide art that communicates what most people won't be able to express themselves. He was one of the first popular artists to openly say he was bisexual in print and on television, a lot of his band members were minorities, and he was very considerate of what we call the avant-garde. He also created a lot of thematic characters like Ziggy Stardust, Aladdin Sane, and The Thin White Duke during the '70s to cope with performance anxiety and bring more life to his work. He was able to write narratives rather than be introspective until he gained the confidence to be this vulnerable. A lot of people call him a rock n' roll chameleon. He was also an actor, in films like The Man Who Fell to Earth, Labyrinth, and The Prestige. He worked for a mime company in the '60s. You're going to find him extremely fascinating, I have a feeling. This all sounds weird in writing, yet it's not really weird at all nowadays because he's one of the people who allowed others to break out of their shell and be more accepting today. Eminem created Slim Shady because of him. Corey Taylor has an Aladdin Sane tattoo on his arm. Metallica's Master of Puppets has several references to his music. Lady Gaga has called him her favorite artist. One of Kurt Cobain's favorite records was The Man Who Sold the World. Slash's mom was his outfitter. Madonna's first concert was his Diamond Dogs Tour. Punk rockers loved him before punk rock existed. He normalized self-acceptance and being different and all of the beautiful things that make us human beings when few had such a platform to. Bowie was an absolute god. Plus he had great hair. Constantly.
It doesn't sound weird in writing at all. In fact, you're pretty on point when you say I'll find him fascinating - I'm definitely intrigued and already a bit fascinated.
@@BetterEveryDayUA-cam it's strange to a lot of people that someone can accomplish so much in their life and in their career. A lot of people hope for one thing or another and it's something that makes them happy when they achieve it. For artists, there's a decade or two where they've accomplished everything they wanted to. That's sustaining. David grew up in that time where everything was changing quickly, but not at the speed people hoped for it. People hated him for being himself and a character separately. They doubted him because he didn't answer questions the way they wanted him to. He wore makeup, heels, earrings, dresses, leggings, and the media criticized him for it. He shaved his eyebrows off and it made headlines. Those things seem to have mattered a lot before we were born, but when he showed up, a lot of people were confronted with their prejudices. He didn't get angry at them. They didn't realize it immediately, but they loved him. All of the things they hated about certain groups of people became irrelevant when they recognized how talented he was, aside from the stubborn people who never wanted to change. He was a visually-impaired single dad, a recovering drug addict, an immigrant in several countries, and one of the kind, sensitive men that people were taught wasn't socially acceptable because he was willing to be feminine as well. Every odd was against him. In the '80s, they knew him as the guy in blue and yellow suits with coifed hair, and he was the face of MTV. Everyone did a 180 on him and bought his records because he made something for everyone and laid their foundations with everything other artists left him. When he died of liver cancer in 2016, it was the biggest death in recent history. He dropped his last album 2 days before he died, and it was a chilling experience. Somehow, over 50 years, from 1965 to 2016, he left the biggest musical legacy of anyone. 400 songs, 100 singles, 30 albums worth of material, and he introduced the world to mullets. Most importantly though, he proved passion outlives hatred. You can be a middle-class art student from London with a damaged eye and have the world know who you are by not giving up and doing precisely what you want to do. It just takes effort, and that's something people are inspired by.
Oddly after growing up with him, and I'm betwixt and between, there is something about this one that I go back to. The words, the musicianship, special mention to Fripp, and Bowie's vocals. I'm always going back through his catalogue. Dave would say look forward. Nope. The past is the future unwritten. Thank you. That was wonderful.
Bowie's vocals on this album are absolutely mental in places, but they're sung like that to compliment the lyrics that often deal with altered and traumatized states of mind.
I agree with the other posters who say, if it's your first Bowie track, proper, aspects of it - and who Bowie was - might not immediately connect. I'd check out some of the Seventies singles, early on - or a greatest hits, as I did - and go from there.
Thank you for reacting to this song. This is one of my absolute favorites. When you get a chance, you should experience the first track on this album, It's No Game Pt. 1. So many great songs to choose from. Also, try Absolute Beginners, Bring Me the Disco King, Beauty and the Beast, Station to Station.
Let's Dance, and Space Oddity Are 2 of his biggest hit. Well 2 among many massive hits here. This is a first time for hearing this song. Like everything Bowie, it's not a regular commercial track. He had a backing group, same guys for a long time. And he also played guitar, but not for many years after becoming a star. I always found him intriguing, but not enough for me to be an all out fan. Many years ago I had Ziggy Stardust, and another album that I can't remember the title of. I loved them both, and played them very often for several years, even up until the time you were living on milk, and needing the comfort of mommies arms around you. I guess '88, but I won't tell a soul. 1190 ad, that's when the world groaned at my birth. I'm trying to out live Methuselah. He went home at 969 years old. It was my b'day on the 15th, so I'm catching him up....LOL Yeah. Bowie isn't on to ignore if we want our horizons broadened. His drug fueled music is some of the more interesting, an unusual too.
It's a very broad guess considering how many records he had, but the big ones are Young Americans, Station to Station, and Let's Dance. You'll probably recognize it as soon as you hear that sound again. Happy late birthday, Graham! 💙
Hi :) I've been a Howie fan since about '78. Scary Monsters is one of his weirder and more experimental albums. I think one if the bigger themes in it is the alienation one feels when coming out. Not his first album on the subject but one of the strongest. Agreed about the music being poerful. A very young Stevie Ray Vaughan plays guitar on this, and I think Pete Townshend is on the album too.
You're in for a great journey. I'd suggest Life on Mars for sure, Rebel Rebel, Ashes to Ashes, Let's Dance, maybe Fame (only if you like funk), Space Oddity, Heroes, Under Pressure which he wrote with Queen (it's often listed as a Queen song only). I quite like Up the Hill Backwards from the same album as this song but it's perhaps too short for a review.
The song is structurally similar to "'Heroes'" but does not feature a refrain; its verses only end with the title being sung over Fripp's guitar breaks. Its backing vocals are reminiscent of the Ronettes, while piano is provided by Roy Bittan.[2][3][4] The song's lyrics have been widely interpreted. One interpretation is they are an attack on Bowie imitators who emerged in the late 1970s, such as Gary Numan, who personally believed himself a target.[5] Carr and Murray state that the song is Bowie reflecting on his younger self,[6] while Pegg considers it a confrontation to critics who tried to prevent Bowie from evolving throughout the 1970s.[4] Bowie himself wrote in 2008 that the lyrics are about "taking a short view of life, not looking too far ahead and not predicting the oncoming hard knocks" Music and lyrics "Ironically, the lyric is something about taking a short view of life, not looking too far ahead and not predicting the oncoming hard knocks" - David Bowie, [7] The song's original title was "It Happens Everyday". Producer Tony Visconti said "Instead of singing 'Not another teenage wildlife' [Bowie] would sing 'It happens everyda-a-ay.'"[8] Against a musical backdrop that owed much to his classic song "Heroes", including textural guitar work from both Robert Fripp and Chuck Hammer, and adds wandering phrases following his lyrical paragraphs, Bowie appeared to take aim squarely at his post-punk artistic godchildren, particularly Gary Numan:[9] A broken-nosed mogul are you One of the new wave boys Same old thing in brand new drag Comes sweeping into view As ugly as a teenage millionaire Pretending it’s a whiz-kid world In a 1980 interview, Bowie commented on Numan and his "whiz-kid world", saying "What Numan did he did excellently but in repetition, in the same information coming over again and again, once you've heard one piece.... It's that false idea of hi-tech society and all that which is... doesn't exist. I don't think we're anywhere near that sort of society. It's an enormous myth that's been perpetuated unfortunately, I guess, by readings of what I've done in that rock area at least, and in the consumer area television has an awful lot to answer for with its fabrication of the computer-world myth."[10] Singer Boy George has said that his all-time favourite lyric was "As ugly as a teenage millionaire"
Bowie was 33 when he cut this song and was referencing his struggle to shake his wild, youthful alter-ego. I hope you've listened to more Bowie since this song. Teenage Wildlife is great but kinda obtuse if you're just getting into him. An album like Bowie Changes One, a collection of greatest hits, would be a great launching pad.
I'm so glad you got around to this! Thank you very much, Randi! 🥰 The song is about growing old in a world where the young are more desirable. David was upset because a guy named Gary Numan borrowed from his late '70s music and his fashion sense. David was one of the first people to popularize New Wave music with his 3 records Low, Heroes, and Lodger, often known as the Berlin Trilogy, as part of a retreat away from the United States where he developed a cocaine addiction. For him, the music was a deep expression of himself. For the new artists coming up as radio, then MTV, latched onto New Wave, there didn't seem to be the same kind of commitment. David hated that they commercialized something he viewed as one of his greatest artistic ventures. He hated that RCA let him down in the US and didn't promote those records as well as they did in Europe. This album, Scary Monsters (and Super Creeps) came out in 1980 and set a precedent for a lot of the other music to come out in the '80s. He and Iggy Pop had just taken Blondie out on their first major tour. David didn't want to be that old guy losing relevance when practically everyone was becoming famous by emulating him. Somewhat hypocritical because he was one of the most impressionable artists in history, but life isn't always rational when you're in a bad place. He nonetheless put out my absolute favorite album of his that year. He had a lot of different bands with dozens of configurations, and hired the best musicians he could work with as he wanted to broaden his musical boundaries. Robert Fripp from King Crimson played lead guitar here, then Carlos Alomar on rhythm guitar, George Murray on bass, and Dennis Davis on drums. Roy Bittan on piano. Bowie on synthesizers. Alomar, Murray, and Davis had been on most of his late 1970s records after a band called The Spiders from Mars in the early '70s. More on that later when relevant. Tony Visconti produced this record, along with a dozen others. David used more instruments himself on his early albums, playing lead guitar and saxophone on his 1974 album Diamond Dogs. By Let's Dance, the record after this that he released in 1983, he left most instrumentals to other musicians, starting with Nile Rodgers and Stevie Ray Vaughan, finishing with Erdal Kizilcay and Peter Frampton on his album Never Let Me Down in 1987. After starting a band called Tin Machine, he became more present in his music again, returning to his solo work a few years later for another 20 years. This song's main riff was an outtake from David's most-covered song Heroes from the 1977 album Heroes, which had the biggest impact of any song on New Wave. You're really gonna love his voice. He's one of the most versatile guys I've ever heard, if not the most versatile. You'll hear glam rock, folk, jazz, industrial, ambient, and all sorts of music that you probably haven't had much exposure to before. He was very listenable and is obviously extremely popular, but unorthodox and unmatchable in so many ways. My other two favorite songs of his are Letter to Hermione and As the World Falls Down, which I'll definitely throw onto the Patreon polls, but there are also a few hits you may recognize immediately and establish a connection to him through like Dancing in the Street: Space Oddity (album version, lyric video or Hits A Go Go 1969) Fame (album version ft. John Lennon, lyric video) Heroes (live Musikladen 1978) Under Pressure (with Queen) Let's Dance (Glass Spider Tour 1987) Some of his singles cut out large parts of the songs or were filmed in the wrong era, so it's best to play things by ear. He was one of the best live musicians ever as well, though some songs like this one just can't be done properly live. I'm hoping you'll do more, because this discography is a non-stop rabbit hole of incredible songs. Anything you want musically short of extreme metal is there. David Bowie truly did it all. 💙
Teenage Wildlife IS MY absolute favorite Bowie song (been a fan since 1974). You were given sufficient insight into the meaning below, so I just wanted to comment on Bowie and Jaggers duet you reacted to previously. Ever the innovator, this was SUPPOSED to be a Trans-Atlantic DUET, LIVE VIA Satellite (with Mick in Philadelphia and David in London) during LIVE AID. A one way, 1 second delay meant that it could not be done so the last minute, CHEESY video was done and broadcast instead. So, you basically went from one of his WORST videos to listening to one of his greatest MASTERPIECES, known and appreciated only by his fans.
Bowie's worth every second you put into him, up until his last album right before his death. He's a gamechanger and a life changer.
One of my favourite songs by Bowie. Fripp on guitar - brilliant stuff.
Master piece!
David doesn't want to be an influencer, is the topic of the song.
Bowie is exaggerating his voice here. He often changes his voice to suit the song which is amazing.
Amazing song from a brilliant album.
This is my Favourite Bowie Album Ever!!! Robert Fripp and Peter Townsend play here...!!
Absolutely master piece, guitar god Fripp marvelous!
Wow, what a track to choose for your first Bowie listen. This is pretty much one of the more fan-level tracks. I'd suggest Heroes or Fame.
Common themes you'll find with a lot of David Bowie's music are isolation and alienation. Most of what he did musically wasn't popular before he did it, and he wanted it better represented because he felt other people should be able to hear it and love it as much as he did. He wrote a lot of music as an outcast to provide art that communicates what most people won't be able to express themselves. He was one of the first popular artists to openly say he was bisexual in print and on television, a lot of his band members were minorities, and he was very considerate of what we call the avant-garde. He also created a lot of thematic characters like Ziggy Stardust, Aladdin Sane, and The Thin White Duke during the '70s to cope with performance anxiety and bring more life to his work. He was able to write narratives rather than be introspective until he gained the confidence to be this vulnerable. A lot of people call him a rock n' roll chameleon. He was also an actor, in films like The Man Who Fell to Earth, Labyrinth, and The Prestige. He worked for a mime company in the '60s.
You're going to find him extremely fascinating, I have a feeling. This all sounds weird in writing, yet it's not really weird at all nowadays because he's one of the people who allowed others to break out of their shell and be more accepting today. Eminem created Slim Shady because of him. Corey Taylor has an Aladdin Sane tattoo on his arm. Metallica's Master of Puppets has several references to his music. Lady Gaga has called him her favorite artist. One of Kurt Cobain's favorite records was The Man Who Sold the World. Slash's mom was his outfitter. Madonna's first concert was his Diamond Dogs Tour. Punk rockers loved him before punk rock existed. He normalized self-acceptance and being different and all of the beautiful things that make us human beings when few had such a platform to. Bowie was an absolute god.
Plus he had great hair. Constantly.
It doesn't sound weird in writing at all. In fact, you're pretty on point when you say I'll find him fascinating - I'm definitely intrigued and already a bit fascinated.
@@BetterEveryDayUA-cam it's strange to a lot of people that someone can accomplish so much in their life and in their career. A lot of people hope for one thing or another and it's something that makes them happy when they achieve it. For artists, there's a decade or two where they've accomplished everything they wanted to. That's sustaining. David grew up in that time where everything was changing quickly, but not at the speed people hoped for it. People hated him for being himself and a character separately. They doubted him because he didn't answer questions the way they wanted him to. He wore makeup, heels, earrings, dresses, leggings, and the media criticized him for it. He shaved his eyebrows off and it made headlines. Those things seem to have mattered a lot before we were born, but when he showed up, a lot of people were confronted with their prejudices. He didn't get angry at them. They didn't realize it immediately, but they loved him. All of the things they hated about certain groups of people became irrelevant when they recognized how talented he was, aside from the stubborn people who never wanted to change.
He was a visually-impaired single dad, a recovering drug addict, an immigrant in several countries, and one of the kind, sensitive men that people were taught wasn't socially acceptable because he was willing to be feminine as well. Every odd was against him. In the '80s, they knew him as the guy in blue and yellow suits with coifed hair, and he was the face of MTV. Everyone did a 180 on him and bought his records because he made something for everyone and laid their foundations with everything other artists left him. When he died of liver cancer in 2016, it was the biggest death in recent history. He dropped his last album 2 days before he died, and it was a chilling experience.
Somehow, over 50 years, from 1965 to 2016, he left the biggest musical legacy of anyone. 400 songs, 100 singles, 30 albums worth of material, and he introduced the world to mullets. Most importantly though, he proved passion outlives hatred. You can be a middle-class art student from London with a damaged eye and have the world know who you are by not giving up and doing precisely what you want to do. It just takes effort, and that's something people are inspired by.
Amazing singer, songwriter, and musician, but an even better human being.
Oddly after growing up with him, and I'm betwixt and between, there is something about this one that I go back to. The words, the musicianship, special mention to Fripp, and Bowie's vocals. I'm always going back through his catalogue. Dave would say look forward. Nope. The past is the future unwritten. Thank you. That was wonderful.
Love this album thank you Mr Bowie........and thank you to the power house Mr fripp 💪🙂
Bowie's vocals on this album are absolutely mental in places, but they're sung like that to compliment the lyrics that often deal with altered and traumatized states of mind.
I love his Glam voice, back in the Ziggy days, when it was so squeaky and with open vowels!
This song references the 'New Wave' band/fashion scene in the UK in the 80's that mostly emulated Bowie hence - 'same old thing in brand new drag'.
It's like an improved version of "Heroes"
I agree with the other posters who say, if it's your first Bowie track, proper, aspects of it - and who Bowie was - might not immediately connect. I'd check out some of the Seventies singles, early on - or a greatest hits, as I did - and go from there.
Oh, I should have mentioned , Fripp is doing the progressive chords to "Heroes" backwards on this. Yeah, I'm an old nerd:)
Got to listen hard, David does a lot of his own backing vocals!!!!!
It would have to be one of his best performances
Thank you for reacting to this song. This is one of my absolute favorites. When you get a chance, you should experience the first track on this album, It's No Game Pt. 1. So many great songs to choose from. Also, try Absolute Beginners, Bring Me the Disco King, Beauty and the Beast, Station to Station.
Let's Dance, and Space Oddity Are 2 of his biggest hit. Well 2 among many massive hits here.
This is a first time for hearing this song. Like everything Bowie, it's not a regular commercial track. He had a backing group, same guys for a long time. And he also played guitar, but not for many years after becoming a star. I always found him intriguing, but not enough for me to be an all out fan. Many years ago I had Ziggy Stardust, and another album that I can't remember the title of. I loved them both, and played them very often for several years, even up until the time you were living on milk, and needing the comfort of mommies arms around you.
I guess '88, but I won't tell a soul.
1190 ad, that's when the world groaned at my birth. I'm trying to out live Methuselah. He went home at 969 years old. It was my b'day on the 15th, so I'm catching him up....LOL Yeah. Bowie isn't on to ignore if we want our horizons broadened. His drug fueled music is some of the more interesting, an unusual too.
Well happy late birthday! :D
@@BetterEveryDayUA-cam Thank you. It means a lot.
It's a very broad guess considering how many records he had, but the big ones are Young Americans, Station to Station, and Let's Dance. You'll probably recognize it as soon as you hear that sound again.
Happy late birthday, Graham! 💙
@@chrismeadows4216 Broad guess is right. Thank you.
@@grahamnash9794 absolutely. I hope this brings back good memories. 🙂
i wound with this song is reaction bowie turning 30 in 1977 and the new decade of 1980 and the change in the music industry that was happening
This song is just so ,scratchy, distored, painful yerning of adolescent.Just beautiful.
Hi :)
I've been a Howie fan since about '78. Scary Monsters is one of his weirder and more experimental albums. I think one if the bigger themes in it is the alienation one feels when coming out.
Not his first album on the subject but one of the strongest.
Agreed about the music being poerful. A very young Stevie Ray Vaughan plays guitar on this, and I think Pete Townshend is on the album too.
You should try Rock'n'Roll Suicide by him. :) Very epic and again very different!
Yes!
Hans Rhinesdale “Gimmie your hands”
You're in for a great journey. I'd suggest Life on Mars for sure, Rebel Rebel, Ashes to Ashes, Let's Dance, maybe Fame (only if you like funk), Space Oddity, Heroes, Under Pressure which he wrote with Queen (it's often listed as a Queen song only). I quite like Up the Hill Backwards from the same album as this song but it's perhaps too short for a review.
The song is structurally similar to "'Heroes'" but does not feature a refrain; its verses only end with the title being sung over Fripp's guitar breaks. Its backing vocals are reminiscent of the Ronettes, while piano is provided by Roy Bittan.[2][3][4] The song's lyrics have been widely interpreted. One interpretation is they are an attack on Bowie imitators who emerged in the late 1970s, such as Gary Numan, who personally believed himself a target.[5] Carr and Murray state that the song is Bowie reflecting on his younger self,[6] while Pegg considers it a confrontation to critics who tried to prevent Bowie from evolving throughout the 1970s.[4] Bowie himself wrote in 2008 that the lyrics are about "taking a short view of life, not looking too far ahead and not predicting the oncoming hard knocks"
Music and lyrics
"Ironically, the lyric is something about taking a short view of life, not looking too far ahead and not predicting the oncoming hard knocks"
- David Bowie, [7]
The song's original title was "It Happens Everyday". Producer Tony Visconti said "Instead of singing 'Not another teenage wildlife' [Bowie] would sing 'It happens everyda-a-ay.'"[8]
Against a musical backdrop that owed much to his classic song "Heroes", including textural guitar work from both Robert Fripp and Chuck Hammer, and adds wandering phrases following his lyrical paragraphs, Bowie appeared to take aim squarely at his post-punk artistic godchildren, particularly Gary Numan:[9]
A broken-nosed mogul are you
One of the new wave boys
Same old thing in brand new drag
Comes sweeping into view
As ugly as a teenage millionaire
Pretending it’s a whiz-kid world
In a 1980 interview, Bowie commented on Numan and his "whiz-kid world", saying "What Numan did he did excellently but in repetition, in the same information coming over again and again, once you've heard one piece.... It's that false idea of hi-tech society and all that which is... doesn't exist. I don't think we're anywhere near that sort of society. It's an enormous myth that's been perpetuated unfortunately, I guess, by readings of what I've done in that rock area at least, and in the consumer area television has an awful lot to answer for with its fabrication of the computer-world myth."[10] Singer Boy George has said that his all-time favourite lyric was "As ugly as a teenage millionaire"
Oh God, Bowie and Nightwish 💙💙 you look like Natasha Khan, my favourite witch, from Bat For Lashes. Can you react to Bat For Lashes - Daniel? 💙
Bowie was 33 when he cut this song and was referencing his struggle to shake his wild, youthful alter-ego. I hope you've listened to more Bowie since this song. Teenage Wildlife is great but kinda obtuse if you're just getting into him. An album like Bowie Changes One, a collection of greatest hits, would be a great launching pad.
I'm so glad you got around to this! Thank you very much, Randi! 🥰
The song is about growing old in a world where the young are more desirable. David was upset because a guy named Gary Numan borrowed from his late '70s music and his fashion sense. David was one of the first people to popularize New Wave music with his 3 records Low, Heroes, and Lodger, often known as the Berlin Trilogy, as part of a retreat away from the United States where he developed a cocaine addiction. For him, the music was a deep expression of himself. For the new artists coming up as radio, then MTV, latched onto New Wave, there didn't seem to be the same kind of commitment. David hated that they commercialized something he viewed as one of his greatest artistic ventures. He hated that RCA let him down in the US and didn't promote those records as well as they did in Europe. This album, Scary Monsters (and Super Creeps) came out in 1980 and set a precedent for a lot of the other music to come out in the '80s. He and Iggy Pop had just taken Blondie out on their first major tour. David didn't want to be that old guy losing relevance when practically everyone was becoming famous by emulating him. Somewhat hypocritical because he was one of the most impressionable artists in history, but life isn't always rational when you're in a bad place. He nonetheless put out my absolute favorite album of his that year.
He had a lot of different bands with dozens of configurations, and hired the best musicians he could work with as he wanted to broaden his musical boundaries. Robert Fripp from King Crimson played lead guitar here, then Carlos Alomar on rhythm guitar, George Murray on bass, and Dennis Davis on drums. Roy Bittan on piano. Bowie on synthesizers. Alomar, Murray, and Davis had been on most of his late 1970s records after a band called The Spiders from Mars in the early '70s. More on that later when relevant. Tony Visconti produced this record, along with a dozen others. David used more instruments himself on his early albums, playing lead guitar and saxophone on his 1974 album Diamond Dogs. By Let's Dance, the record after this that he released in 1983, he left most instrumentals to other musicians, starting with Nile Rodgers and Stevie Ray Vaughan, finishing with Erdal Kizilcay and Peter Frampton on his album Never Let Me Down in 1987. After starting a band called Tin Machine, he became more present in his music again, returning to his solo work a few years later for another 20 years. This song's main riff was an outtake from David's most-covered song Heroes from the 1977 album Heroes, which had the biggest impact of any song on New Wave.
You're really gonna love his voice. He's one of the most versatile guys I've ever heard, if not the most versatile. You'll hear glam rock, folk, jazz, industrial, ambient, and all sorts of music that you probably haven't had much exposure to before. He was very listenable and is obviously extremely popular, but unorthodox and unmatchable in so many ways.
My other two favorite songs of his are Letter to Hermione and As the World Falls Down, which I'll definitely throw onto the Patreon polls, but there are also a few hits you may recognize immediately and establish a connection to him through like Dancing in the Street:
Space Oddity (album version, lyric video or Hits A Go Go 1969)
Fame (album version ft. John Lennon, lyric video)
Heroes (live Musikladen 1978)
Under Pressure (with Queen)
Let's Dance (Glass Spider Tour 1987)
Some of his singles cut out large parts of the songs or were filmed in the wrong era, so it's best to play things by ear. He was one of the best live musicians ever as well, though some songs like this one just can't be done properly live.
I'm hoping you'll do more, because this discography is a non-stop rabbit hole of incredible songs. Anything you want musically short of extreme metal is there. David Bowie truly did it all. 💙
his voice shifts depending on the song. here he's kinda parodying his own voice to make fun of the way his 80s disciples did.
Teenage Wildlife IS MY absolute favorite Bowie song (been a fan since 1974). You were given sufficient insight into the meaning below, so I just wanted to comment on Bowie and Jaggers duet you reacted to previously. Ever the innovator, this was SUPPOSED to be a Trans-Atlantic DUET, LIVE VIA Satellite (with Mick in Philadelphia and David in London) during LIVE AID. A one way, 1 second delay meant that it could not be done so the last minute, CHEESY video was done and broadcast instead. So, you basically went from one of his WORST videos to listening to one of his greatest MASTERPIECES, known and appreciated only by his fans.
Can you please react to Garbage song called Magnetized
Please
This guitar... . But I prefer Pixies, according to Bowie one of the most important bands of the eighties.
the scary monster album is from 1980 and there are many songs better than this one on the album.
Fuck off no way!