Review Summary: Another glam rock Bowie release. It’s in the same vein of Ziggy Stardust.
“Aladdin Sane” is the sixth studio album of David Bowie and was released in 1973. The line up on the album is David Bowie, Mick Ronson, Trevor Bolder and Mick “Woody” Woodmansey. The album also had the participation of Mike Garson, Ken Fordham, Brian “Bux” Wilshaw, Juanita “Honey” Franklin, Linda Lewis and G. A. MacCormack.
As we know, Bowie was a well known British artist. For many years was at the forefront of pop and rock. Bowie is often referred to as a chameleon artist due to his multifaceted work. He was one of the most creative and innovative artists, one of the best and most respected too. Bowie was a musician, a performer and a songwriter that defied the conventions. As we know, he continually reinvented himself and his art. Although we cannot consider Bowie as a true progressive rock musician, I always see in him that spirit. He always was an artist that never stopped progressing, never being satisfied with what he has made before. He never stopped changing his style. We may say he was unique.
“Aladdin Sane” was the follow up album to Bowie breakthrough previous work “Ziggy Stardust”. It was also the first David Bowie’s album that he wrote and released as a real rock star. Despite many critics agreeing that “Aladdin Sane” contains some of his best musical material, the general opinion about the overall quality of the album has often been a bit divided. However, “Aladdin Sane” was one of the five Bowie’s entries in the Rolling Stone’s list of the 500 greatest albums of all time. The other albums from him are: “Ziggy Stardust”, “Hunky Dory”, “Low” and “Station To Station”.
“Ziggy Stardust” wrote the blueprint for David Bowie’s hard-rocking glam, and “Aladdin Sane” essentially follows the pattern, for both better and worse. A lighter affair than “Ziggy Stardust”, “Aladdin Sane” is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Though I don’t consider it his best work from an artistic perspective, it’s one of his better rock albums, featuring no less than three songs that make frequent appearances on my *** playlists. Bowie was never a rocker in the purest sense of the word; he played in many genres, imbuing those genres with his own unique perspectives and sense of style. But whenever he found himself in a rocking mood. He could kick some serious ass.
“Watch That Man” was probably a shock for those who were used to Bowie’s music. It represents a cut with his usual sound. It’s a Bowie’s version of a Stones’ rock song. It isn’t a bad song, but it isn’t my cup of tea. It’s one of my least favourite songs. The title track is the most experimental track on the album. It’s chaotic and decadent. I especially love the avant-garde way of playing the piano. It’s an amazing and excellent piece. “Drive-In Saturday” is influenced by the doo-wop style and returned to the post apocalyptic Bowie’s future world. It’s a futuristic, nostalgic, nice song with some interesting lyrics. “Panic In Detroit” is based probably on descriptions of revolutionary riots that occurred in 1967 in Detroit. It’s a typical glam rock song with excellent percussion work and beautiful female backing vocals. “Cracked Actor” is a hard rock song inspired by L.A. It has some various allusions to sex and drugs. It’s about an encounter of a Hollywood star with a prostitute. It’s an energetic song, nice and pleasant to listen to. “Time” is based on the Broadway Vaudeville cabaret music, in the style of Jacques Brel, Bertolt Brecht and Kurt Weill. It’s an excellent, brilliant track with a dark and decadent style. Again we have amazing piano work. “The Prettiest Star” was written by Bowie for his first wife Angela Barnett. It’s a track with a glam rock influence. It’s another good song, a love song with high quality. “Let’s Spend The Night Together” is another cover of a Stones’ song. Like “Watch That Man”, it’s another song that isn’t my cup of tea. It’s my least favourite track on the album. “The Jean Genie” an excellent straight rock song with a killer riff and science fiction lyrics. It’s the most famous song on the album that became an essential classic Bowie song. “Lady Grinning Soul” was composed in the style for a James Bond movie. It has a warm atmosphere and is wonderfully sung by Bowie. Again we have another amazing piano work. It’s one of my favourite songs on the album. It’s a great closer.
Conclusion: “Aladdin Sane” was an album written when Bowie released his “Ziggy Stardust” live tour. Most of the songs were composed on the road during his 1972 American tour. It was essentially a real development of “Ziggy Stardust” in its appearance but in an American style. Bowie himself described it as simply “Ziggy Goes To America”. However, it seems to me that “Aladdin Sane” is a different album from “Ziggy Stardust”. Musically, we are in the presence of a different work and it has also, in my opinion, a little bit less quality than its predecessor. Although, “Aladdin Sane” remains an excellent album and an essential Bowie piece, as almost many other Bowie’s albums. But it isn’t one of my favourite albums from him. There are some great Bowie’s works that one should experience before.
Music was my first love.
John Miles (Rebel)
