Sound and Vision — David Bowie’s Albums From Start To Finish

While we’re all stuck inside for the foreseeable future, I’ve decided to listen to all of David Bowie’s studio albums, from 1967's David Bowie to 2016's Blackstar. There’s about thirty songs I’ve heard (and liked!), but the only albums I’ve listened to in their entirety are Ziggy Stardust and Blackstar. I’m shooting for a couple of albums a day, sometimes more, sometimes less.

Some housekeeping rules first: I know I’m probably missing a good number of essential non-album singles, but I make the rules here, and albums are the rules. I’m leaning towards treating the Labyrinth soundtrack as an album. I’ve never seen the movie nor heard the soundtrack, but I think Bowie was such a central creative force for the movie that Labyrinth has to count here. That said, I will respectfully listen to any arguments for more essential additions.

Kicking us off is his eponymous (titular?) debut. It sounds like what I imagine a replacement-level pop record in 1967 would sound like. A bit of low-grade psychedelia (“There Is A Happy Land”), mixed with folk (“Come And Buy My Toys”), and a Beatles clone (“Uncle Arthur”). It’s not a particularly notable record, and even one of its more memorable tracks for me is not the good kind of memory (“Love You Till Tuesday”). Even the album cover — headshot and typeface and soft background — is paint-by-numbers 1960s pop.

But there are some elements that appear in David Bowie that are fully realized later on. “She’s Got Medals” displays Ziggy-like proto-swag while telling a story about a Mary who would rather go to war and pick up girls and be called Tommy. “There Is A Happy Land” starts with an otherworldly intro that feels atmospherically similar to “Space Oddity”, if not musically similar.

Next is the eponymous (titular?) second album, colloquially known as Space Oddity. This is a much, much better record than David Bowie. It shows a more distinct voice than its predecessor, embracing a more rock and roll vibe. Every worthwhile thought has already been expressed about “Space Oddity.” “Unwashed and Somewhat Slightly Dazed” is fun as hell. And “Wild Eyed Boy From Freecloud” hits me because I’m a sucker for strings.

“Cygnet Committee” is lyrically great but musically bloated, though I suspect that may have been the point. It’s a story about a disillusioned movement that promises everything but delivers a big package of nothing. The song is also nearly ten minutes long, a big loud production that eventually becomes a slog to get through aesthetically. Or maybe I just don’t automatically like big epic rock songs anymore. I used to be a sucker for those too.

Overall this is a good record, but maybe not as good as I really think it is. I listened to both of these albums one after the other, so maybe my opinion of Space Oddity is tainted by David Bowie. David Bowie was non-distinct and bad enough that listening to Space Oddity right after it was a welcome relief, like a package of Top Ramen followed by a visit to Tsujita. Or maybe, after I’m a few albums in, I’ll look back at Space Oddity and it won’t shine as brightly. I’ll find out over the next few weeks.