Next in line is a batch of David Bowie records.  Now, I love David Bowie.  I really do.  He makes that fantasy list of “cats I would love to work with someday.”  You know, the one that will be perpetually chased as it perpetually grows.  I saw him at the Boston Orpheum in 1997 or so, and it was one of the best shows I have ever seen in my entire life.  He rocks.

• Space Oddity – One of the last in his catalog for me to hear.  I like his decision to use the LP as a canvas for images of his space travels.  You know, just like Sun Ra, er, sort of.  I don’t always like the music on this LP, but it’s super early in his career, so there is plenty more music to check out.
• The Rise and Fall of Ziggy Stardust and the Spiders from Mars – Yes.  Incredible.  Anyone who has not heard this must.  “Starman” is one of my all time favorite tunes.  “Moonage Daydream” is so, so rockin’.  I confess that I do need to sort of turn my attention away from the music during Bowie’s alto solo on “Stone Love,” but if that’s the only moment that doesn’t quite suit my tastes, then it’s quite a record.
• Alladin Sane – The follow up to Ziggy is a bit of a left turn.  I like Mike Garson’s Cecil Taylor moments and Bowie’s singing on “Time,” but most of the rest of this record (“The Jean Genie” being a classic, of course) is not quite my cup of tea.
• Hunky Dory – never been a fan of ch-ch-ch-changes, but I love the rest of this album.  “Life on Mars” is extraordinary, “Quicksand” is lovely.  I love this line in the liner notes – “I played some guitar, the saxophones and the less complicated piano-parts. (inability).”  Bowie’s voice is in great form on this record.  I like, particularly, how much he sounds like Bob Dylan on “Bob Dylan” and how much he sounds like Lou Reed on “Queen Bitch,” and he does that without sounding like an impersonator (or as Bowie doing an impression of Rich Little).  Great, great record.
• Pin Ups – a record of covers.  I think that “See Emily Play” is every bit as interesting as the Pink Floyd original.  I’ll wait for that shoe to drop.  Ok, now onward.  You know, this record is really weird.  That must be why I like it so much.  The free sections of some of these tunes are just plain crazy.
• Diamond Dogs – Welcome, Tony Visconti.  You rock.  Not my favorite Bowie record, but definitely a rockin’ one.  Ok, let me be more generous – “Sweet Thing” is lovely and is there anything not to like about Aynsley Dunbar’s playing, ever?  Couple more thoughts – side 2 is really great.  I hear in the first two tracks some prediction of his Phillie style that would emerge on with Young Americans, and in “Big Brother” and “Chant of the Ever Circling Skeletal Family” there is more than a whiff of his Berlin period.  On second thought, I like this record.  Oh, and compared to the Dynaflex RCA LPs I have been listening to, this RCA International German pressing (“Imprime in Alemagne”) is pretty warm a lovely sounding.
• Young Americans – New cast.  The Spiders from Mars are pretty much out, with new peeps like Willy Weeks (one of my all-time faves – check his playing in Rufus, on Donny Hathaway Live, and even on Chuck Mangione’s record Feels So Good), Carlos Alomar, Earl Slick (who is way too cool on the Reality Tour DVD), David Sanborn (that’s right!), Luther Vandross (again, that’s right!), and some guy named John Lennon.  Tony Visconti continues to be incredible.  Bowie sounds great on “Across the Universe,” too – hints of Station to Station in his voice (speaking of which…).
• Station to Station – Bowie’s singing on “Station to Station” is among my favorite moments in his catalog.  His voice is in supreme form, even though I believe this is one of the records that he doesn’t actually remember making.  Again, Earl Slick and Carlos Alomar are too cool for school on this record.  Most confusing moment for me?  “Wild is the Wind” – I still think that’s a cover of a jazz tune.  I love it.  “Golden Years” has always been a fave of mine.  Least fantastic moment for me?  “TVC15.”  George Murray is my new hero.
• Low – My first several listens through this left me cold.  I should like this record more.  Maybe I need to spend more time with Eno records (I have checked out Here Come the Warm Jets and Music for Airports – I prefer him as a producer – he’s amazing at that – waitaminute…he produced Low – I should like that record more).
• “Heroes”– Tricky time in Bowie’s life, but fantastic music.  I think the Bowie/Eno/Fripp/Visconti combination is unbelievable.  Strangely, even though the structure of “Heroes” is very similar to Low, I like “Heroes” a bit more.  Who knows why?  George Murray is still amazing.  The gate effect on “‘Heroes'” is so classic, and I think Bowie’s voice on “Sons of the Silent Age” is absolutely incredible.  “The Secret Life of Arabia” is also pretty darn great, although the “Secret, secret” backing vocals remind me of something else, something not as hip…it will come to me…something 1980s…something with hairspray and spandex…oh yeah, some backing vocals from “Mr. Roboto” by Styx [“Secret, secret, I’ve got a secret”].
• Stages – A double live album, from the era of double live albums.  Adrian Belew is incredible on this album, same – again – with George Murray.  Actually, the whole band sounds great. “Station to Station” is shorter, losing much of the long intro.  I still feel the same about “TVC15″…sorry.  But what a difference a decade or two makes (insofar as what an audience likes is concerned).  I mean, the applause – which could have been flown in from something else – at the end of “Warzawa” is enthusiastic.  Could you imagine Jay-Z or Lady Gaga or someone else today releasing a record of electronic music (closer to Stockhausen than electronica) – instrumental music, by the way – and having a gigantic audience for it?  Ok, one more thing.  Although this record is live, there is really not much about it that is different from the studio albums.  No, the aesthetics are not the same thing as jazz records (never play the same thing once), but still, there has to be some experimentation somewhere, right?  Why not on a live album?
• Scary Monsters (and Super Creeps) – Hello Robert Fripp.  I know you were there on “Heroes” but man, you are totally here on this record and sound amazing.  This album is super weird and documents yet another transition for Bowie.  Many of the same musicians on this record, playing like they have been together for a couple of years (and they have).  Side one is like perfect or something.  Side two is very nice, but not quite as attention grabbing for me, although “Because You’re Young” is such a cute 1980s pop song smashed into doo wop.
• Tin Machine – Ok, so not exactly a David Bowie album, but I file it there anyway.  It might get lost otherwise, and who would want that?  Remember Tin Machine?  I liked them at the time.  I still think that Reeves Gabrels is un-freaking-believable.  I have come this close to playing with him a couple of times, but it never worked out, sadly.  For now, I’ll just have to remember seeing him pacing on stage at the Orpheum a few years ago, rocking a kilt (that was the Earthling tour).  On this record, I like “Prisoner of Love” and Under the God” – remember that one?  Nice version of “Working Class Hero,” too.

So, that’s it.  Another installment of My Record Collection in Alphabetical Order.  Love it.

Best, R.