19 Songs, 1 Hour 14 Minutes

EDITORS’ NOTES

The Bowie of many voices was at play on this 1995 rediscovery of core musical values. He dusted off some of his best ideas—Berlin-era electronic music (with Brian Eno), scathing guitar, limber jazz piano—and created a song suite with a loose narrative that allowed him to switch suddenly from urbane crooner with a London twang (“The Motel,” “Outside”) to muttering alien lizard (“The Hearts Filthy Lesson”) at the drop of an arched eyebrow. “Hallo Spaceboy” is a particular peak, a theatrical, grinding push through industrial beats that announced the old, weird Bowie was back in business.

EDITORS’ NOTES

The Bowie of many voices was at play on this 1995 rediscovery of core musical values. He dusted off some of his best ideas—Berlin-era electronic music (with Brian Eno), scathing guitar, limber jazz piano—and created a song suite with a loose narrative that allowed him to switch suddenly from urbane crooner with a London twang (“The Motel,” “Outside”) to muttering alien lizard (“The Hearts Filthy Lesson”) at the drop of an arched eyebrow. “Hallo Spaceboy” is a particular peak, a theatrical, grinding push through industrial beats that announced the old, weird Bowie was back in business.

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