The 24 Best David Bowie Songs24個最佳的大衛·鮑伊歌曲

March 12, 2013  |  12:00pm

The 24 Best David Bowie Songs

Pop Singer. Glam rocker. Soul singer. Electronica innovator. Young hotshot. Elder statesman. Straight. Bisexual. Character actor. Fashion icon.

David Bowie has been all of these things at various points in his career and, no Wayne Coyne, he ain’t dead yet.

The breadth of Bowie’s influence is almost too vast to consider. From Madonna to Nine Inch Nails to Depeche Mode to Lady Gaga to Blur to Marilyn Manson to The Arcade Fire, many of the top artists from today and yesteryear owe a great deal to the man who put on make-up and sung about space travel, androgyny and a whole bunch of other stuff that us mere mortals will never fully comprehend.

A true rock star, Bowie appeared to bow out from music following 2003’s Reality. After a 10 year hiatus, the man is back with new music.

In honor of the release of The Next Day, Bowie’s 24th official album, we’re taking a look at the top 24 Bowie tracks.

24. “Modern Love” (from Let’s Dance)
For many, the phrase “Bowie in the Let’s Dance era” has the same connotations as “Dylan goes Christian” and “The Rolling Stone’s Their Satanic Majesties Request,” which is to say that there’s some great stuff if you’re willing to look past certain established prejudices. At first listen, “Modern Love” sounds like a bit of straight up ‘80s cheese—the synths, backup singers, an expertly placed sax, it’s all there. In fact, one would be mistaken in thinking, based the first few notes, that you were listening to the opening of “Footloose.” Production aside, Bowie’s charisma and expert sense of pop songwriting transforms this into a rousing, head bop-inducing track that’s impossible to resist.


23. “Bring Me the Head of the Disco King” (from Reality) 
Contrary to some perspectives, Bowie did release quality stuff towards the latter half of his career. Never more was this more apparent than in “Bring Me the Head of the Disco King,” the final track of his final (or so we thought) album, Reality. Sounding like a recording from some dark jazz bar, the song has Bowie reflecting on his career, and it’s not a happy listen. Rather, it’s a song filled with regret and sadness. No wonder people thought Bowie was done with music forever. Though the meandering, seven-plus minute track might prove a bit taxing for some, it’s the kind of song that, if it hits you at the right time, will haunt you long after it’s over.


22. “Cat People” (Putting Out the Fire) (from Let’s Dance
A deep cut from Bowie’s successful but oft-maligned Let’s Dance, “Cat People” was originally composed for writer/director Paul Schrader’s ultimately ill-conceived 1982 remake of the classic horror film Cat People. Much like the film, the song was soon forgotten. Of course, leave it to master revivalist Quentin Tarantino to recognize the greatness of this song and insert it into a pivotal sequence in his 2009 film Inglourious Basterds.


21. “I’m Afraid of Americans” (from Earthlings
Whenever one goes with the “old meets new” model of collaboration, the level of success can be a definite crapshoot. In this instance, it was the right one. Whatever your feelings are regarding Trent Reznor as a songwriter, one has to admire the skill of his industrial production. Certainly, the versatile Bowie fits into Reznor’s musical landscape like a snug glove.


20. “Starman” (from The Rise and Fall of Ziggy Stardust)
One of the centerpieces of the Ziggy Stardust concept album, “Starman” has some callbacks to Hunky Dory, especially given its octave leap during the song’s sweeping chorus. That being said, got to say I still prefer Dewey Cox version of the song (I kid, of course).


19. “Rebel Rebel” (from Diamond Dogs) 
If ever there was a Bowie song that could soundtrack a sporting event, this would be it. Ironic, since the lyrics contain multiple references to gender-bending such as “You got your mother in a whirl/ She’s not sure if you’re a boy or a girl.” Often cited as being Bowie’s elegy to his glam rock days, you couldn’t ask for a better exit.


18. “Fashion” (from Scary Monsters)
While Mick Ronson is the guitarist most often associated with Bowie, King Crimson’s Robert Fripp here more than rivals that legacy, releasing some intense metallic riffs that augment the song’s reggae-influenced progression.


17. “Rock and Roll Suicide” (from The Rise and Fall of Ziggy Stardust)
Without ever having laid eyes on Bowie or his numerous elaborate costumes, you could probably safely guess from this, the closing track to the Rise and Fall of Ziggy Stardust, that he was a man who enjoys the flamboyant and the theatrical. In less than three minutes, Bowie progresses from quiet acoustic guitar strumming to a bombastic blast of strings, brass and shredding guitar.


16. Ashes to Ashes (from Scary Monsters)
Beginning with a wonky synth line that sounds like a lost sound effect on an oldDoctor Who episode, “Ashes to Ashes” revisits the character of Major Tom (from another Bowie composition that shall be mentioned later). According to the song, Tom is now a junkie and wasting away. Certainly one of Bowie’s most oft-kilter songs, it’s also, naturally, one of his best.


15. “TVC 15” (from Station to Station)
The more one listens to the Kraftwerk-inspired greateness of Bowie’s Station to Station, the sadder it becomes that the man himself—emotionally despondent and walking through a cocaine haze at the time—barely remembers recording it. Reportedly inspired by a hallucination Iggy Pop once had, “TVC 15” spins a simple yarn about a woman who is sucked into a television, leaving her man behind. The surreal lyrics make a jarring contrast with the honky-tonk piano intro that sounds straight up Dr. John. But, then again, what is Bowie about if not contradictions?


14. “Suffragette City” (from The Rise and Fall of Ziggy Stardust)
“Wham bam thank you ma’am!” Only David Bowie can make an inconsiderate quickie sound so damn charming. Of course, that only scratches the surface of this relentlessly catchy, furious blast of rock that sounds like a speed-up Chuck Berry number.


13. “Changes” (from Hunky Dory)
The lead-off single of Hunky Dory, Bowie reportedly wrote this song as a parody of nightclub songs. Considering the chameleon-like nature Bowie’s career would take, hoping from one musical persona and one genre to the next, lines like “Changes are taking the pace I’m going through” make the song feel less like a pop single and more like an artistic manifesto.


12. “Sound and Vision” (from Low)
Let’s face it, Low may be an exceptional album and a major highlight in Bowie’s career but it’s not exactly easy listening. With its layered sonic textures and ultra crypic lyrics, it purposely lacks the poppy accesbility of a Hunky Dory or a Ziggy Stardust. That being said, the mostly instrumental “Sound and Vision”is a hypnotic track that deftly builds upon layers of instrumentation. By the time Bowie gets around to actually singing, it almost feels unneeded. And seriously, could listen to that up-tempo guitar riff all day and not get tired of it.


11. “Queen Bitch” (from Hunky Dory)
Written in honor of The Velvet Underground and Lou Reed, “Queen Bitch” introduced the kind of thrashy Mick Ronson guitar riff that helped characterize some of Bowie’s later glam-rock numbers. Clocking in at just over three minutes, the song stands as perhaps the most infectiously catchy song in an album filled with them.


10. “Golden Years” (from Station to Station)
In a record primarily characterized by electronic textures and Euro-influenced techno, “Golden Years” serves as a pleasant oddity. Propelled by the kind of funk/soul beat that would have not seemed out of place on Young Americans, “Golden Years” casts Bowie in a lounge lizard role, albeit with one sleek backing track that you just want to soundtrack whatever Saturday Night Fever-esque strut you’ve got.


9. “Oh! You Pretty Things” (from Hunky Dory
Originally prepped to be Hunky Dory’s first single, Bowie opted for “Changes” instead.While that seemed to be the correct decision in retrospect, one cannot help but wish this track had been given more attention. Anchored by some cabaret-esque piano, the song rises to a hooky chorus that probably made Paul McCartney jealous.


8. “The Jean Genie” (from Aladdin Sane)
David Bowie greatly admired The Rolling Stones. If you ever needed proof, give this track a whirl. Spearheaded by a killer guitar riff and some great blues harmonica, this cut easily stands as a major highlight on Aladdin Sane.


7. “The Man Who Sold the World” (from The Man Who Sold the World)
“The Man Who Sold the World” stands as one of the creepiest songs in Bowie’s oeuvre. The fact that the vocals sound reminiscent of a snake hissing through water do little to alleviate this. Like many Bowie songs, this proved to be a popular standard. The most famous cover of which no doubt remains Kurt Cobain’s haunting, anguished version in Nirvana’s MTV Unplugged special.


6. Ziggy Stardust (from The Rise and Fall of Ziggy Stardust)
Boasting one of Mick Ronson’s most recognizable guitar licks, “Ziggy Stardust” has Bowie summarizing the story of the Ziggy Stardust album (and, The Man Who Fell to Earth if you’re so inclined). In the end though, the story plays backseat to the pure exuberance that is this titular track.


5. “Under Pressure” (from Queen’s Hot Space)
Yes, this is technically on a Queen album. And, yes, it’s been overplayed to death in countless movie and TV trailers. Need to make a character’s intense anxiety look charming? This is the song for you. Ultimately, however, this does not detract from John Deacon’s bass line or the way in which Freddie Mercury’s soaring vocals and Bowie’s understated crooning so perfectly complement each other. There are some songs that just deserved to be overplayed. This is one of them.


4. “Heroes” (“Heroes”)
Whenever one discusses the career of David Bowie, the word chameleon inevitably find its way into the discourse. And, yes, Bowie was indeed a master of adjusting himself to fit different trends and stage personalities. Yet such a characterization also implies a cold, disconnection. It connotes one who keeps emotion and heart-baring sentiments at an arm’s length. Such are the criticisms often thrown at Bowie and those of his ilk.

Then there’s “Heroes.” Gone is the theatricality. Gone is the subversive musical throwbacks. Gone is any sense of irony. All that’s left is a man singing self-consciously over the beautiful, hypnotic waves of undulating electronic noises that surround him. Bowie originally wrote the song after spotting a pair of lovers rendezvousing under the Berlin Wall. Intrigued, Bowie envisioned their story. Like all the best Bowie tracks, this one is a build. It begins with whispered, cooing, with the narrator imploring his companion to be his queen. Approximately three minutes in, the tone of Bowie’s voice dramatically shifts into an emotional wail. By the time he gets to the line “We’re nothing / And nothing can help us,” his voice is cracked with emotion.

Despite its progressive sound, “Heroes” betrays some very old-fashioned sentiments. It’s the emotionally gripping tale about a man desperately seeking the comforts of love and the always effervescent warmth of happiness—if just for one day. Bowie had written sad songs before but never has he sounded so, well, achingly human.


3. “Young Americans” (from Young Americans)
The words “English glam rocker” and “Philly soul” sound like they should go together about as well as Morrissey and McDonald’s. Yet, not only Bowie doesn’t only pull it off but the result is one of his strongest songs to date. Over a blaring sax and soulful backup singers, Bowie constructs—a happy song about a decidedly miserable situation. He even manages to slip in a “Day in the Life” reference in there. If there were ever any doubts regarding Bowie’s range as a musical artist, this shattered them all in one fell swoop.


2. “Space Oddity” (from Space Oddity)
It’s telling that, 40-plus years after its initial release, “Space Oddity” remains a weird, weird song. Inspired by Stanley Kubrick’s 1968 masterpiece 2001: A Space Odyssey, the song spins the tale of “Major Tom” an unfortunate astronaunt trapped drifiting in space. While many of Bowie’s best are based around the gradual build or surprising the listener, this is by far the one that does it best. “Space Oddity” certainly feels like two or three different parts of songs melded together. That Bowie makes it seem so seamless is a sign of his mastery. And who doesn’t inadvertently clap along to that middle section? Just sayin’.


1. “Life on Mars?” (from Hunky Dory)
Hunky Dory remains Bowie’s most consistently enjoyable album. And never has his penchant for sweeping, cabaret-esque theatricality been more apparent than on this surreal track. Beginning with Bowie wailing over a lonely piano, the track quickly builds in intensity, adding a soaring string section that gives the track its Broadway-worthy punctuation.


2013年3月12日| 12:00 PM
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對Bowie的影響的廣度實在是太龐大的考慮。從麥當娜到九寸釘到Depeche Mode的,以Lady Gaga的模糊瑪麗蓮曼森街機火,許多頂級的藝術家今天和昔日功不可沒到誰把化妝和唱有關太空旅行的人,雙性化和一大堆其他的東西,我們這些凡人永遠無法完全理解。



24,“現代愛情”(從LET'S DANCE)
對於許多人來說,“在鮑伊語LET'S DANCE時代“具有相同的含義為”迪倫去基督教“和”滾石他們的魔鬼陛下請求 “,這是說,有一些偉大的東西,如果你願意看過去某些既定的偏見。起初聽,“現代愛情”聽起來好像有點直上世紀80年代的奶酪,合成器,合音歌手,一個熟練放在薩克斯,這一切都在那裡。事實上,人們會誤以為思想,根據前幾個音符,您正在收聽的開幕“渾身是勁。”生產之外,Bowie的魅力和流行音樂詞曲創作高手感轉換為一個令人興奮的,頭BOP誘導軌道這是無法抗拒。




22,“貓人”(撲火)(從LET'S DANCE)
從鮑伊的成功,但經常被詬病的大降價LET'S DANCE,“貓人”最初是由對編劇/導演保羅·施拉德的最終構想拙劣的1982年翻拍經典恐怖片貓人。就像影片中,這首歌很快就被遺忘了。當然,把它掌握復興昆汀·塔倫蒂諾認識到這首歌曲的偉大,將其插入在他2009年的影片舉足輕重的序列無恥混蛋。














15“TVC 15”(從車站到車站)
的更多人聽Bowie的的Kraftwerk的啟發greateness 站站時,令人悲哀的成為了人類自己,情緒沮喪,步行通過可卡因陰霾的時候,幾乎沒有記得錄製。由幻覺波普曾經啟發據報導,“TVC 15”旋轉約誰是吸進電視機的女人一個簡單的紗線,讓她的男人身後。超現實主義的歌詞讓與低級夜總會的鋼琴前奏,聽起來直上約翰博士一個不和諧的對比。不過,還是那句話,什麼是鮑伊一下,如果沒有矛盾呢?






讓我們面對現實吧,低可能是一個特殊的專輯,在鮑伊的職業生涯的一大亮點,但它不太容易聽。憑藉其分層的音質和超crypic歌詞,它故意缺少的罌粟accesbility 虎背熊腰,腳蹬多莉或齊格星塵。話雖這麼說,大多是工具性“聲音和視覺”是一個催眠的軌道後,儀器的圖層巧妙地構建。到時候鮑伊得到周圍居然唱,它幾乎感覺不需要的。認真,能聽的快節奏吉他riff一整天,而不是看累了吧。




在創紀錄的主要特點是電子紋理和歐洲的影響TECHNO,“流金歲月”作為一個愉快的怪胎。由該會並沒有顯得格格不入的那種放克/靈魂節拍的推動年輕的美國人,“流金歲月”鑄就鮑伊在休息室蜥蜴的作用,儘管你只是想配樂不管人們時尚的依托軌道週末夜狂熱 -去年秋季的支柱,你已經得到了。




大衛·鮑伊很崇拜滾石樂隊。如果你需要證據,給這條賽道一掄。一個殺手吉他riff和一些偉大的布魯斯口琴帶頭,這很容易切割站作為一大亮點阿 ​​拉丁神誌正常。


7,(從“誰賣世界的人” 誰賣了世界的人)






4,“英雄”( “ 英雄”),










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