In 1967, Bowie released his self titled debut album. Ten years later (1977), Bowie released "Low" and "Heroes". Two experimental albums from the Berlin Trilogy (three albums produced with Ambient Meisture BRIAN ENO). Another ten years later, in 1987, Bowie released "Never Let Me Down". A commercial flop. Another ten years later, In 1997, Bowie released this. Earthling.
On this album, Bowie experiments with Drum N Bass elements. This, apart from "Lodger", is proberly Bowie's most underrated album ever. Let me tell you this, a wealth of people miss out on something better than you may expect.
Anyway, on with the review (Please note, this is my first review, so this may not be perfect. Also, i may happen to rate some tracks of their quality within their genre rather then outside):
LITTLE WONDER 8/10
The first single off the album. Possible to see why. Bowie's vocals are English cockney, which doesn't help much, but the next track makes up for it. This is a very "bigbeat" track. There is this strange synthy sort of sound at the beginning of some bars. From 3:00 mark to the 4:15 mark, things get seriously creepy, with sounds affects of all sorts. I like the train sound effects as well. The choruses are cool, and there is a cool whispered bit where Bowie whispers "Wonder you". Overall, not perfect, but a very fine opener to this album
LOOKING FOR SATELITTES 9/10
The intro. Ooooohhh... the intro... those vocals... those wonderfull vocals singing random words... "Nowhere, shampoo, tv etc", Ooohhh... wonderful! Anyway, as i was saying, some guitar feedback comes in and then the drums eventually come in. Not a terrible much more to say. There are more nice vocals, and a bizarre guitar solo as well.
BATTLE FOR BRITIAN 8/10
Starts with some drum tech. Then, some meaty guitar. Then live drums come in. Vocals are english-cockney. There are some cool lyrics like "Don't be so forlorn,it's just the payoff, It's the rain before the storm, On a better day, I'll take you by the hand, And I'll walk you through the doors". Some crazy piano comes in around the 3:00 mark. Overall its just a nice addition to this album.
SEVEN YEARS IN TIBET 10/10
This is where the album really juices up. Another amazing intro with the slow drums, bass and the saxophone. Bowie's vocals are ring modulated and sound amazing. The lyrics are truly from another world, as is the music. There is a sort burst of heaviness with heavy guitars, but without any vocals. BRILLIANT!!! The song goes mellow again, with another weird synth. Bowie's vocals are not ring modulated this time around, but are really nice. The song, in no time, bursts into heaviness, but this time, with SWEET chorus. "I praise to you, nothing ever goes", bowie sings. The song goes mellow again, but with no lyrics, just some synthy buzzing. BANG into heaviness again. But this time, less heavy, without guitars, but synths. Now THAT, is a crucial moment in the song. The rest of the song is permenantly the same, with a nice vocal bit from Gail Ann Dorsey (Bowie's bassist/ backing vocalist at the time). The outro to the song is very weird, with a synth line (please note, that if i mention synths, its not always synths, but may'be keyboards). I did not like this track at first, but this is definitely essential on this album. Fantastic
DEAD MAN WALKING 10/10
Another, pnenominal track. This is, again, very bigbeat. Its also the longest track on the album, at 7 worthy minutes (6:50 really). The lyrics are again brilliant. The backing vocals by Bowie add nice little touches throughout the song. The pre-verse guitar is great, with its grungy feedback. The 2nd verse is quieter, with some lovely, light piano, but soon the synth washes from the 1st verse come back in. Another choruses, and some more grungy guitar. There are some beautiful backing vocals by Gail Ann Dorsey. This song, although is very bigbeat and grungy, also proves to be rather beautiful, with the forementioned backing vocals, and the tinkly piano. The outro, with Bowie's harmonizing and the piano, is beautiful. An absoulutely amazing track, and arguably the best track on the album.
TELLING LIES 9/10
This was the first internet single, EVER (I think)! And its damn good as well. Bowie's vocals are creapy when he says "Telling Lies". He literally says it like this:
"Ttttttteeeeeeelllllliiiiiinnnnnnnnggggggg llllllliiiiiiiieeeeeesssssss!!"
I love the strings in this. Nice "oohh aahhs" in it as well. This isn't terribly heavy", and thats very good. There is a very brief moment in the song where it is just the strings. Its only a few seconds, but its just...nice. The song eventually builds up again, but that was a lovely moment.
LAST THING YOU SHOULD DO 9/10
The starts with the drums, bubbling synths and the lovely strings. "What have you been doing to yourself, What have you been doing to yourself, What have you been doing to yourself, It's the last thing you should do-oo-oo-oo-oo-oo-oo-oo-oo-oo" Bowie sings. There are some paranoid yells of YEAH (!) dotted throughout the song. The song suddenly bursts into heaviness, with some guitar. The song slowly builds down, back to its verse. Lovely! There are another bunch of nice effects. This, although it didn't really care for much at first, is a real, crucial point in the album. Again
IM AFRAID OF AMERICANS 10/10
This is amazing! Although an edit done by Trent Reznor is proberly better, this is the ORIGINAL! This is still intense. The beginning is very nod-along. The verses have Bowie singing about a guy called Johnny (American?!). The verses are very groovy. The song, in absoulutely no time, bursts into heaviness. The song quickly simmers down back to the verse. "Johnny wants a plane, Johnny wants to suck on a Coke, Johnny wants a woman, Johnny wants to think of a joke" Bowie sings. BANG! Heaviness again. Such a formidabble chorus. There is a bit, around the 3:20 mark, where things simmer down so much, it comes out with this gorgeous string part and Bowie's lovely vocals. The chorus comes back, but with just drums, then the guitar comes back in, and so it goes. Amazing track.
LAW (EARTHLINGS ON FIRE) 10/10--------(Really?!)
I cannot believe im giving this track such a high rating. None of you proberly will. But it just, somehow, really appeals to me. Its got the slightest tint of Nine Inch Nails in it (Perhaps a certain section in "March Of the Pigs"). Anyway, the song starts of with Bowie saying "I don't want knoledge, i wan't certainly". Soon, some crude synths come in with drums. This is very angsty in a way. Bigger synths come in. This just gets so good. The ring modulated vocals are chilling. More synths come in, oohhh its just so brilliant!!! Im literally listening to this track right now. And grooving along to it as i write this bit. "With this sound, With this sound, With this sound mark, Mark the ground" Bowie sings. This is so cool. I might be ass-kissing here, but this is just so catchy. I think i've finished what i need to say about this album.
Recommends:
SEVEN YEARS IN TIBET
DEAD MAN WALKING
IM AFRAID OF AMERICANS
LAW (Well, i like it anyway)
THis album gets a 4.5 out of 5.
