Better than Lodger, not as good as Low. My short assessment of the Berlin trilogy. My cat named Bowie disagrees with this assessment but who gives a fuck what he thinks, he's a cat.
"Heroes" is the 12th studio album by English musician David Bowie, released on 14 October 1977 through RCA Records. After releasing Low earlier that year, Bowie toured as the keyboardist of his friend and singer Iggy Pop. At the conclusion of the tour, they recorded Pop's second solo album Lust for Life at Hansa Tonstudio in West Berlin before Bowie regrouped there with collaborator Brian Eno and producer Tony Visconti to record "Heroes". It was the second instalment of his "Berlin Trilogy", following Low and preceding Lodger (1979). Of the three albums, it was the only one wholly recorded in Berlin. Much of the same personnel from Low returned for the sessions, augmented by King Crimson guitarist Robert Fripp. The album was recorded sporadically in July and August 1977. The majority of the tracks were composed on the spot in the studio, the lyrics not being written until Bowie stood in front of the microphone. The music builds upon its predecessor's electronic and ambient approaches, albeit with more positive tones, atmospheres and passionate performances. The album also follows the same structure as its predecessor, side one featuring more conventional rock tracks and side two featuring mostly instrumental tracks. The cover photo, like Iggy Pop's The Idiot, is a nod to the painting Roquairol by German artist Erich Heckel. Upon release, "Heroes" was a commercial success, peaking at number 3 on the UK Albums Chart and number 35 on the US Billboard Top LPs & Tape chart. It was the best-received work of the Berlin Trilogy at the time of release, with NME and Melody Maker each naming it their respective album of the year. Bowie promoted the album extensively with television appearances and interviews. He supported Low and "Heroes" on the Isolar II world tour throughout 1978. Live performances from the tour appear on the live albums Stage (1978) and Welcome to the Blackout (2018). "Heroes" has received enduring praise, particularly in terms of critical recognition for Fripp's contributions on guitar and the album's place within Bowie's longterm artistic development. Though critical opinion has tended to view Low as the more groundbreaking record, "Heroes" has nonetheless established a reputation among Bowie's best, most influential works. The title track, initially unsuccessful as a single, has remained one of Bowie's best-known and most-acclaimed songs. Bowie later used an altered, obscured version of the album's cover artwork for the cover of his 2013 album, The Next Day. "Heroes" has been reissued several times and was remastered in 2017 as part of the box set A New Career in a New Town (1977–1982).
Better than Lodger, not as good as Low. My short assessment of the Berlin trilogy. My cat named Bowie disagrees with this assessment but who gives a fuck what he thinks, he's a cat.
Eight Bowie records is entirely too many for this list and this is one that could be easily cut. TIile cut is fine of course but the gloomy instrumentals on side 2 are extremely tedious and pointless -- even for Eno fans – and sound dated besides. This is replacement-level at best, with only the rarest bits of intrigue.
It's Bowie. I'm gonna like it. The man was a legend and consistently ahead of his time. That future-thinking is on heavy display with Heroes. It's from '77 (the same year as Low) but features sounds that wouldn't become ubiquitous until the 80s. Sadly for me, those sounds aren't my favorite which knocks a star off of this review. The songwriting is still brilliant and Bowie is still a beast and the album was still great. I just don't really like bloopy synths. Low was a better album.
As the advertising/marketing slogan from 1977 for the ‘Heroes’ album states: “There's Old Wave, there's New Wave, and there's David Bowie."
I listened to this album twice just to make sure I was hearing right and believable. So far no album apart from Bad Company has disappointed me so sharply after Heroes. It's like there's a sharp drop in quality. Someday with more patience I'll understand this album a lot more. The songs that I really love I will rate a solid 4-5. Heroes is an anthem to me. But maybe because of the generation I grew up in, and that these are ALBUMS to listen to, I expect something as an album. It's so disappointing, with this voice and solid songs, the album is a drop in quality. So disappointing. ((I went back and read the history of the album, maybe someday I will look at this album differently, but I personally did not enjoy it. I'm listening to Ziggy Stardust and with every song the groove helps me forget Heroes)) 2/5
The second of the Berlin trilogy, and like Low before it, it has a vocal side and a mostly instrumental side. The instrumentals are Eno collaborations, but they're Bowie through and through. The Kraftwerk influence is overstated, in my opinion. I believe it's more accurate to say that Bowie accomplished what they couldn't, or maybe more politely: they walked so he could run. Best track: Heroes
I guess I’m a Bowie fan now! Half existential bops to dance to, half eerie and gorgeous soundscape. Robert Fripp and Brian Eno really bring it together to paint a gorgeous masterpiece for David Bowie to launch himself off of. Beautiful!
Ah, another Bowie joint. Never heard this album. As an unreconstructed proletarian in the 1970s, I never really joined in the Bowie mania. I always thought Bowie was much more popular in the U.K. than in the real world. (I mean, I’m grateful for the Brits putting us up for several months before we kicked Hitler’s ass and all, but . . . ) Ok, enough levity. The title of this group is “serious-listen, so here goes: Everything good about this album (“Heroes”, 1977) is in the synth and the lead guitar (in other words, Brian Eno and Robert Fripp), which are very, very good. I almost wish Bowie hadn’t gotten involved. Seriously. I invite anyone to listen to this album while imagining that Bowie’s voice and lyrics were gone. It would be a much better album. In this album he seems tired. Bowie’s vocals are uninspired (and uninspiring), and his lyrics sound like they were simply thrown together—the kind of mishmash we used vomit into our theme books in mid-afternoon 10th grade Civics class. I don’t often use the word ‘vapid’ and ‘insipid’ in the same sentence, but in this case I’ll make an exception. Bowie put out too many (eleven!) albums in the 1970s. That pace exceeds the creative capacity of any one man. In the ‘70s, even Bob Dylan only put out ten, and David Bowie is no Bob Dylan. I’ve held this opinion for a long, long time. Bowie had a lot of cheerleaders rah-rahing for him to become ‘the next big thing’, but history has demonstrated that the last book on the enduring musical legacy of the 1970s will put Bowie in the endnotes. I will agree that as an entertainer, as a concert performer, Bowie is up there with the best. But this project is about ALBUMS. Albums are for listening. His albums don’t cut it. He’s certainly had hits; and he’s certainly prettier than Eric Clapton, Bob Dylan, Duane Allman, Keith Emerson, Janis Joplin, Carlos Santana, David Crosby, Aretha Franklin, Mick Fleetwood, Roger Waters, etc. etc., but as a musician and a recording artist, he’s second-tier. This album makes the point. Lunkheaded lyrics on “Beauty and the Beast” are too binary, lacking any philosophical sophistication or even subtlety in expressing the relationship between good and evil. Has he never read Nietzsche? No, probably not. “Joe the Lion” demonstrates Bowie’s lazy approach to pitch and diction. This track has a nice driving beat and excellent lead guitar work (but the lead is unfortunately pushed to the background in the mix. Too bad). The ‘poetic’ theme of “Heroes” is that of a man pushing a vain hope of ultimate happiness (why “if only just for one day”?) in order to win his lover, “and the guns shot above our heads (Over our heads); And we kissed, as though nothing could fall.” That’s a sad formula, elevating the forlorn to the heroic. And certainly not persuasive as a love ballad. Not for me. The poetic protagonist and his lover kissing by the Berlin Wall should have reflected on the fact that the “Heroes” were not the ones suffering in the Cold War. The heroes were the ones fighting the Cold War, and dammit, we won. The Wall came down. Bowie’s lyric trivializes the monstrous oppression of Soviet communism. This is the only song on the album which has any popularity on the Apple iTunes track listing. I’m not sure if that says more about Bowie’s listening public or iTunes’ algorithms, but it does reveal something about the album as a whole. Bowie’s voice is so nasal it sounds like he’s swallowed his tongue. With a classic lack of self-awareness, he refers to “one-inch thoughts” in “Sons of the Silent Age”, which is itself a lyrically banal collection of half-inch thoughts. David Bowie is not a thinking man’s lyricist. The second side of the original LP showcased Brian Eno. Very nice soundscapes and aural colorings (at least for 1977). “V-2 Schneider” is one of the best tracks on the album, evocative of the horror of Nazi Germany’s weaponry unleashed on British non-combatants (The threat was minimal, but the fear was real.) The next track, “Sense of Doubt” is even better (notice that there’s virtually no singing from Bowie on these two tracks?). And “Neuköln” (misspelled) works well as a sonic landscape of Cold War angst (again no lyrics or singing), as seen from Bowie’s perspective in West Berlin in 1977. This is a much better track that “Heroes”. Brings back memories—not all of them good, but most of them important. “The Secret Life of Arabia”, has a wonderful funkadelic vibe, well-recorded, but sadly spoiled by Bowie’s superlatively bland lyrics and whining tone-deaf vocals. For David Bowie, it’s past time for someone to say that the emperor has no clothes (or rather, in Bowie’s case, the clothes are all he’s got). This is an almost good album. Glad I got to listen to it before I die. 2/5
The apex of the Berlin Trilogy. This album is like an old friend to me. In fact I was just listening to it on vinyl yesterday coincidentally. I feel like this album and those surrounding it from this era are a high water mark in his career and for experimental pop/rock music in general.
A wee angry bad tempered man with strange eyes. The bloody best of British. A blowjob from Mr. Blobby.
I first heard some of these songs on the 1978 live album, Stage. When I bought this LP a few years later I remember thinking the production was a bit weird and sludgy. After watching a documentary on Brian Eno this week, I now realize it was Eno’s touch (not to mention his hijacking of side 2). I didn’t realize Bowie played sax on this but he seems to channeling Ornette Coleman with his squawking at the end of Neukoln. Tony Visconti said that once the instrumental tracks got recorded Bowie sent everyone home and would improvise the lyrics over top of the tracks without notes until he got them right. That’s pretty cool and also explains the cryptic nature of his lyrics. Anyway, the songs I thought were "meh" in the 70, I think are great now, even before I heard Odessa.
I had such a good time with this album. I like how it goes from Bowie glam soul to Brian Eno soundscapes. I’m not surprised this album was recorded after Bowie’s work on Lust For Life, as it has a very similar sound (though much more Bowie). This album starts and ends with a bang and even when it “slows down” it never diminishes in intrigue and excitement. Never expected Heroes to be a 5/5 Bowie album for me, but I really enjoyed this listen!
The song "Heroes" is one of those stop-me-in-my-tracks songs. I stop and I really listen. God I love that fucking song so much. When I heard the German version of the song for the first time I couldn't believe that something so perfectly suited for me existed in the world. So for Heroes alone this album is a must listen.
Bowie takes you on a journey from upbeat and relatively radio friendly electro-rock tunes, right through to quite experimental instrumentals in the latter portion of the album. I quite enjoyed the ambient relaxing sounds of Moss Garden which transported me to another place. Amazingly, most of the tracks on the album were created in one take both instrumentals and lyrics. Best: Beauty and the Beast; Heroes; Moss Garden Worst: V-2 Schneider
2nd of the Berlin Triology and hot off recording Lust for Life by Iggy Pop. Opening track is synth to the face, but that inescapable rock groove makes for a weird space age dance club. Heroes the single nails this sounds, creating a sonic horizon forever wide. The back half is a wild, Eno filled miasma. Secret Life of Arabia is a final french kiss dance hall ender for the album.
Simply beautiful. Sense of Doubt, Moss Garden and Neuköln are incredible.
An outstanding album from an amazing artist. Moves like a living, breathing creature and leaves you astounded.
Only the second-best of the Berlin trilogy... but that's sort of academic when it's only the second best of one of the greatest trilogies of albums ever recorded... I want to stand in a lonely desert with Sense of Doubt playing on the soundtrack...
What more could you ask for from an album, a hit song about the essence of love and a song that brings deep seated dread.
So nice to have this album come up the day after Iggy Pop's The Idiot. Because where that was the prologue to the "Berlin Trilogy", this is the middle act. So I had already listened to it in the morning before it came up on here. It is one of the many highlights of Bowie's career and agreeably his greatest album. This is another one of those template albums that broke/enhanced new ground which led later musicians to follow. You will find me giving most Bowie albums 5 stars, this I want to give at least 6 to
Listened to this high and transported to a different dimension
I miss when superstars were just weird and bold and put whole ambient halves of records out
Stellar. Improves if such a thing were possible by listening to the second side first, which contains more of the ambient tracks. The more uptempo krautrock tracks are just unbelievably good.
When you google this album the first suggested question is “Why is Heroes so good?” which just about sums it up
I give this a five star rating. Mainly out of fear that if I give it any less a time traveling version of myself will punch me in the gut.
Favourite Bowie album for me. His voice never sounded better than on here. Eno, Fripp and Alomar all amazing of course, but mustn’t forget George Murray and Dennis David because the rhythm section is UNBELIEVABLE. Especially on Blackout. Stunning album. 1 star.
I do love hearing these albums where you can feel the clear difference between the two sides of the vinyl. I've said this before about Bowie, that in my youth I just didn't "get" him, but I'm glad I'm making up for lost time now. The first half of this is all out classic stomping Bowie. Then you get a taste of weird soundscape Bowie, before wrapping it up with a cracking track that brings them both together. That's great.
One of the best listening experiences is starting with Bowie's Station to Station and ending with Heroes. Yes, I know the Berlin trilogy includes Lodger, but I find the others far superior. Bowie is one of my musical heroes, and I have Nine Inch Nails/Trent Teznor to thank for that. Heroes is one of those albums many acclaimed artists drew inspiration from - no wonder. It's fucking fantastic with a dash of experimental weirdness. Heroes is one of those songs that if I let it, will drift me to another emotional space. I've also heard it covered live covered by my favorite bands, and it's always a visceral experience. This is one of the greatest albums every recorded. Everyone should listen to this era of Bowie.
FINALLY I get a Bowie album I can get down to. I love both the funky, proto-New Wave stuff on side 1 and the Blade Runner soundtrack on side 2.
this bowie character is kind of a freaky weirdo you guys heroes/the berlin trilogy is in kind of a weird spot in the bowie cannon. it's post-ziggy, pre-let's dance, in an era where bowie was working to shake off that los angeles influence and do something less for listeners and more for him. it is decidedly devoid of songs like young americans and diamond dogs. this album is a reflection of that. it's weird and chaotic while you listen but has a sort of peace in its lack of commercialism. the song heroes has become commercially anthemic thanks to that movie with the flowers on the wall, but this album in general has a sort of intentional inaccessibility that i really dig. the song heroes also makes me cry pretty instantly upon listening. i have always always wanted to perform that song for an audience, but hold an internal fear that i would totally butcher it. it's so moving and emotionally raw, it's no wonder that everyone who hears it in adolescence has it stick with them for life. "yes, we're lovers, and that is a fact. yes, we're lovers, and that is that." come on man. so simplistically beautiful. shoutout the guys from king crimson, fripp and belew, for playing guitar on this album too. they really make heroes a complete and perfect track. brian eno's influence is also undoubtedly felt on this album, as well as its berlin trilogy partners. it's really interesting that bowie decided to pull from an area as desolate and difficult as west berlin in the 70s. that's wild and very thoughtful in a very bowie way. this is art rock perfection, and i love it, and the rest of the berlin trilogy. bowie will always and forever be a favorite of mine, because he is a cool genius and writes raw shit like this
Heroes is spacey, unapologetically weird, with chords of vague menace and sly humor-and a treat all the way through. The title track remains one of Bowie and Eno’s towering accomplishments, building to a throbbing emotional climax.
Beauty and the beast: Always been a fan of the weirdness of David bowie songs, this is a great example good choice for first song to introduce what were about to expirience Joe the lion: This would be so sick live. Lots of energy, something different and new all of the time Heroes: It wierd how much simpler this song sounds, but how busy it still feels. So many layers. Him repeating we can be heroes hits deap for some reason, really reaches into the soul a bit Sons of silent age: I love how bowie stumbles with his words but the baround singers really solidify thats its intentful, bringing from sounding like drunk ramblings to poetic reaching. So far all of these songs need another 5 minutes because I just want more Blackout: Head bopping Grove at the beginning while brain scrambling at the same time. Again so many layers. Like all the band members know what the idea is but each have their own spin on its definition and direction. V-2 Schneider: Snare drum and raspy guitar are giving war, the bass is giving sunglasses and destination, the repetition is like were driving medium but going no where fast. So much imagination and scene build into the song Sense of doubt: And we've arrived to our destination from the previous song. And its scary but maybe a little curious, maybe we don't know its scary yet. A very opposite sided call and repeat. Lots of tension. Moss garden: We've arrived to the other side of the tunnel and the is glowing life. Maybe pink leaves falling from the stringed instrument. Very grandiose and beautiful. This is one of those song where you remember to breath to your own rythm at the end because you didn't realize how captivated you were. Neukoln: Suddenly the tension is back. Gotta love a raspy sax, what a bend! The slightly techno sounds is giving robot and alien, and maybe the sax is saying "where am i" while taking in the scene. The end is a little desperate. The bend range of the note is so impressive The secret of arabia: Imagine if they ended on that last song😂😭, it'd take me a couple of minutes to realize I was supposed to leave haha. What a groovy way to bring us back to reality. An Arabic disco. The clapping! Again, imagine everyone live doing the clapping. It would be so much tirany and followers vibes, but it would be irresistible not to follow. Very "they will not control us" from the Uprising - Muse song. I wish the fade wasn't there, wouldve liked the song to actually end. Overall, for me the album is an easy 5, but my only beef is that this is not the kind of album you introduce to strangers to be like "I like this kind of music", kind of an acquired taste even though it would be so cool to enjoy this with like minded people. This would be fantastic to hear live. Thanks for the journey
This one of my favorite Bowie albums. David Bowie's voice with Robert Fripp's lead guitar and Brian Eno on synthesizer. Tony Visconti as production engineer ties it all together. It may not be solid for everyone but I connected with this album when I was young and it stuck. This album has a personality as it shifts from Fripp to Eno while still remaining all Bowie.
Slightly holds the edge over Low for me, better songs and more integrated instrumentals. Fripp's guitar is dazzling, and the production sets the scene for '80s new wave. Another one you forget how good it is, especially the title track. Wow
This has been on my drive for years, never listened to closely until today, everything other than the title song an intriguing mash filed under should-give-a-proper-go. Thank you, list: “Heroes” is outstanding, its instrumental pieces I’d vaguely assumed to be mere mood as rich and thought-out as the song-songs, its futurism tantalising - alien, hopeful, and exploratory, marks from an era when technology pointed at the sky rather than our eyeballs.
You want the biggest hit of the past century? Sure, I'll put it in the middle of this weird fuckin' album.
Another good Bowie album. A few songs are underwhelming to me like "Beauty and the Beast", but "Heroes" is one of Bowie's best songs. There is still some funky stuff going on/strange ambient tracks that are staples of the "Berlin Trilogy". Robert Fripp's guitar playing is also a good addition, although from reading apparently Michael Rother of Neu! was originally considered.
This album took a mad turn that I did not expect and I absolutely loved it. I really thought I had my head around what was going on. David flicks a switch and I’m floundering and all the happier for it. After the few songs instrumental interlude, The Secret Life of Arabia (what the hell is that??) sounds so punchy. The bass is luscious. So much prowess and confidence. And THEN, the song just fades out. All too quickly. As if it’s the most normal thing in the world. As if he hasn’t just blown my world apart. Why does it fade out like that??! I didn’t enjoy the first half of the album enough to give it a 5 but it’s great. I’ll state for the record that that Rise and Fall of Ziggy and Young Americans are stone cold 5ers for my money.
Love Heroes, can take or leave the rest.
I really wanted this album to be all killer, no filler. It was in the folks’ record collection, but all I could really remember was heroes and beauty and the beast. This album suffers from the syndrome of having one absolutely blindingly, magical tune, a couple of decent songs and then a whole load of instrumental filler. Heroes holds a lot of good memories for me and it’s frankly iconic in DB’s canon. I think most people, whether they like Bowie or not, have absorbed this tune via osmosis. It’s amazing and will forever remind me of working on a play called Dolphins can swim written by my mate. It also reminds me of my cousin who was such a DB devotee her handle was A Lass Insane and flew from Australia to see him perform at Glastonbury. Great memories but, boy, the rest of the album is duff. I have the vinyl but I doubt I’ll ever listen to side 2 again.
I wanted to love this album, but it's like I just glanced off it. It's surface enjoyable for me, but there's nothing grabbing me to listen again, even the title track that seems to be many people's favorite. I know I like Bowie; I adore singles I've heard on the radio, but there is nothing in this album. I can recognize the skill and the talent, but there's no connection, which is a bummer. Conceptually, I do appreciate the instrumental tracks, which I feel are forgotten by a lot of modern musicians and bands.
Intellectually, I want to like Bowie. But every time I listen to an album I’m more like 🤷♂️
Seems like an early experimental album. I'm sure it would be enjoyable in a drugged up state, but I don't do drugs, so this is not really my thing.
At his best, Bowie's formidable talent for hooks and especially bridges can defibrillate songs back to life following the frequently enjoyable detours his eccentric vocals take them on in the verses. But Heroes ain't his best--that includes the title track, which has an exulted status I've never understood--and I'm not sure even his best hook work could rescues the flat-on-its-ass teutonic ambience attempted in the second half. A lot of time on scenery and not enough on plot.
Trouble is, I wasn't a young man in 1977. The two last tracks are pretty unlistenable. I would rather listen to Talking Heads. Sorry Dave.
It was okay.. kinda meh. This was my first time really listening to David Bowie and it felt underwhelming.
I know he is a genius. I just can’t stand the music. 2 stars
Meh. David Bowie is one of those artists that doesn't elicit an opinion in me. If he's on the radio I won't switch it over, and I won't wait until a song ends before switching it off at the end of the journey. This album doesn't change that. If this album were an emoji it would be “¯\_(ツ)_/¯“
Had 2 good songs, I am sure I would have liked it more if I was high.
Heard Heroes before and loved the spacey almost disco space rock sound, but the rest of the album was a massive let down. The only other song that stood out was V-2 Schneider. Most albums need a second listen for me to really groove with it but i cant even find myself *wanting to* give this album a second chance. Perhaps i dont understand the album and I'll have a changed point of view in the future.
Great David Bowie Album
Heard one too many times, one of the best albums ever.
Great nostalgic listen, I enjoyed listening to this again
Great album overall, the instrumental pieces were great, the opening and final songs are very groovy, heroes and sons of silent age are all-time bowie greats
The only Bowie album I don't own on vinyl. Part of the Berlin trilogy, lots of classics on this. During this listen, really appreciated V-2 Schneider, and I've always loved Moss Garden.
Moss Garden *chef's kiss*
5 out of 5, every time. David is God.
can i just say how happy i am that there are SO many bowie albums on this list? i will always love the title track - and don't tell anyone, but i may love the cover by oasis even more. i know, i'm not real proud of that, either.
Of course this album is fuckin' fab. You all know it. But I had completely forgotten/never heard the instrumental tracks towards the end, and I wasn't really paying attention as I listened because I knew the tunes, but then these started playing and I was in some kind of trance.
First couple of tracks a bit weak
Previous album from Bowie I listened to sucked. So I was not looking forward to this one. But what d'ya know, this is actually a really great album!
First album I’ve listened to on this challenge that I loved.
Another masterpiece by Bowie
Didn't listen but it's Bowie
I miss you Bowie...
Legendary. One of the 10 albums of All time.
Great album. One of the few albums that gets better as it progresses. Wasn't a big fan of the first track but it gets good when it gets to the title track. I was surprised I liked the instrumental tracks so much. Probably give it a 4.5 due to some so so tracks.
Heroes is one of the greatest songs of all time. The rest of the album is good too
Great on all accounts.
Bowie my old neighbor!
Fucking classic - no question.
5 all the way. It gets a little odd at the end, but I'm totally fine with that. Knock out some rock hits first and then have some fun with it. Obviously it's covered a lot but check out Motorhead's cover of Heroes, it's so good
Amazing album by a total genius.
One of my favorite Bowie albums. The title track is among his best songs and the rest of the songs are quite strong as well. 5 🌟
Epic epic epic. Loved rediscovering this classic. Beautiful vocals, incredible bass and guitar, perfect production
Gloriously experimental yet accessible and even dancey. The soundtrack to a movie you have to imagine and looks amazing.
One of the very few albums that are flawless in my opinion
p385, 1977. 5 stars. Prime Bowie, Brian Eno production. Not a weak track on it. Excellent.
Esse aqui já caminha comigo a um bom tempo, sou muito fã do Bowie e cada pedacinho do que esse homem fez pro mundo. Esse é um bom álbum, longe de ser o melhor dele e de ser meu favorito mas tem sua importância, a parte instrumental do disco é incrivelmente boa, principalmente a música Moss Garden. Músicas favoritas: beauty and the beast; heroes; sons of the silent; sense of doubt & moss garden
No Writings, Family Documentary One Part Mostly Edited. Saw Dad.
The most accessible of the Berlin Trilogy.
This an exceptional album. The first half has a dense orchestrated feel that feels expansive in a way that Phil Spector’s ‘wall of sound’ feels. The latter half is primarily experimental instrumental driven by Brian Eno. The album communicates a sense of Cold War uncertainty yet stands on its own.
Очень люблю. Дэвид Боуи, зачем же ты умер на моё пятнадцатилетие?( -1 за это. 9/10