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.

24個最佳的大衛·鮑伊歌曲
由馬克·Rozeman
2013年3月12日| 12:00 PM
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24個最佳的大衛·鮑伊歌曲
流行音樂歌手。格南搖桿。靈魂歌手。電子與創新。年輕的能手。元老。異性戀者。雙性戀。性格演員。時尚偶像。

大衛·鮑伊已經所有這些東西在他的職業生涯，並沒有韋恩Coyne的不同點，他還沒有死。

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。

一個真正的搖滾明星，曾寶儀出現在音樂下2003的弓了現實。10年的沉寂後，該男子又回來了新的音樂。

在榮譽的發布第二天，寶兒的第24張正式專輯，我們採取一看前24鮑伊歌曲。

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。

23，“給我的迪斯科王的頭”（從現實）
相反，一些觀點，曾寶儀確實釋放質量的東西向後者職業生涯的一半。從來沒有更多的卻是這個更為明顯比“給我的迪斯科王的頭，”他最後的決賽賽場（或者我們是這麼認為）的專輯，真實。聽起來像一些黑爵士酒吧錄製，這首歌有鮑伊反映在他的職業生涯，這是不是一個快樂的聽著。相反，它是充滿了遺憾和悲傷的歌曲。難怪有人認為鮑伊與音樂做下去。雖然蜿蜒，七加分軌可能證明是有點費力一些，它的那種歌，如果它擊中你在正確的時間，將長期困擾著你以後一切都結束了。

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。

21，“我怕美國人”（從地球人）
每當人去與“老滿足新的”合作模式，成功的程度可以是一個明確的crapshoot。在這種情況下，這是正確的。無論你的感情就特倫特Reznor作為一個作曲家，一個人必須佩服他的工業生產技術。當然，多才多藝的曾寶儀適合Reznor的音樂風景就像一個溫暖的手套。

20“接龍”（從齊格星塵的興衰）
之一的中心焦點齊格星塵概念專輯，“接龍”有一定的回調虎背熊腰，腳蹬海魴，尤其是考慮到這首歌的副歌掃在其倍頻的飛躍。話雖這麼說，得說我還是比較喜歡杜威考克斯（當然，我的孩子，）版本的歌曲。

19，“反叛反叛”（從鑽石狗）
如果真有一個鮑伊的歌曲，可以配樂的體育賽事，這將是它。具有諷刺意味的，因為歌詞包含多個引用性別彎曲，如“你有你的母親在一個旋轉/她不知道，如果你是男孩還是女孩。”通常被認為是Bowie的輓歌他的華麗搖滾天，你不能要求一個更好的退出。

18，“時尚”（從可怕的怪物）
雖然米克龍森是最常見的與鮑伊相關的吉他手，國王深紅的羅伯特弗里普這裡比對手更多的遺產，釋放出一些強烈的金屬即興的增加歌曲的雷鬼影響的進展。

17，“搖滾樂自殺”（從齊格星塵的興衰）
而無需對鮑伊和他的許多精心製作的服裝鋪設的眼睛，你也許可以安全地從這個猜測，收盤軌道齊格星塵的興衰，他是一個人誰喜歡個性張揚的舞台。在不到三分鐘，鮑伊從安靜的木吉他掃弦進展到一個誇張的爆炸弦樂器，銅管和粉碎的吉他。

16，煙飛煙滅（從可怕的怪物）
有靠不住的合成路線，聽起來像一個老丟失的聲音效果開始who醫生情節，“煙飛煙滅”重訪大湯姆的字符（從應提到的另一個組成曾寶儀更高版本）。根據歌曲，湯姆現在是一個迷，浪費了。當然了Bowie的最經常被失衡的歌曲之一，這也是自然，他最好的之一。

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？

14，“女權之城”（從崛起和齊格星塵秋季）
“重擊咣謝謝夫人！”只有大衛·鮑伊可以讓一個不體貼匆匆音響，讓該死的迷人。當然，只觸及岩石這個無情的琅琅上口，憤怒的爆炸，聽起來像一個加速查克·貝里數量的表面。

13，“更改”（從虎背熊腰，腳蹬多莉）
的開場單虎背熊腰，腳蹬海魴，鮑伊據說寫這首歌作為夜總會的歌曲蠢事。考慮到變色龍般的自然Bowie的職業生涯會走，從一個音樂劇角色，一個流派到下一個希望，像“變化正在步伐我會通過”線讓這首歌的感覺不像一個流行單，更像是一個藝術宣言。

12，“聲音和視覺”（由低）
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。

11“女王母狗”（從虎背熊腰，腳蹬多莉）
寫在紀念地下絲絨和婁里德的“御用婊子”的出台，有助於刻畫一些鮑伊後來的華麗搖滾數字的那種thrashy米克Ronson的吉他riff。在剛剛超過3分鐘打卡，這首歌代表的也許是最吸引人的感染性的歌曲充滿了他們的專輯。

10，“黃金十年”（從車站到車站），
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。

9，“哦！你漂亮的東西“（來自虎背熊腰，腳蹬多莉）
原本坦然是虎背熊腰，腳蹬多莉的第一首單曲，鮑伊選擇了“這似乎是在回想正確的決定更改”instead.While，人們不禁，但希望這條賽道已經被賦予了更多的關注。一些歌舞表演式的鋼琴錨定，這首歌上升到逃學合唱大概做保羅·麥卡特尼嫉妒。

8，“該讓精靈”（從阿拉丁薩）
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）
“誰賣了世界的人”表示，作為在鮑伊的作品令人毛骨悚然的歌曲之一。的歌聲聽起來讓人想起蛇的嘶嘶聲，通過水的事實無助於緩解這個。像許多鮑伊的歌曲，這被證明是一個流行的標準。最有名的蓋，無疑仍然是庫爾特科班的令人難忘的，痛苦的版本在Nirvana的MTV不插電特別。

6齊格星塵（從崛起和齊格星塵秋季）
擁有的米克·龍森最知名的吉他樂句之一，“齊格星塵”有鮑伊總結的故事齊格星塵專輯（和誰落下地來的人，如果你“再這樣的傾向）。在比賽的最後階段，故事劇本後座的純繁榮是這個名義上的軌道。

5，“在壓力下”（女王的熱空間）
是的，這在技術上是一個女王的專輯。而且，是的，它被誇大死亡在無數電影和電視預告片。需要做一個人物的強烈焦慮看看迷人？這是這首歌適合你。然而，歸根結底，這並不會從約翰執事的低音線，或在弗雷迪水星飆升的嗓音和鮑伊的低調低吟如此完美地相互補充的方式得出。有一些歌曲，只是當之無愧地被誇大了。這是其中之一。

4，“英雄”（ “ 英雄”），
每當出現一個討論大衛·鮑伊的職業生涯中，這個詞變色龍不可避免地找到自己的方式進入話語。而且，是的，曾寶儀確實調整自己，以適應不同的趨勢和舞台人物的大師。然而，這樣的特性也意味著寒冷，斷線。它意味著一個誰保持情緒和心臟霸菱情緒在一個手臂的長度。這樣往往扔在Bowie和那些之流的批評。

再有就是“英雄”。飄是戲劇性。迷戀是顛覆性的音樂返祖。迷戀是諷刺任何意義。所有剩下的就是一個人唱自覺在圍繞他起伏的電子噪聲的美麗，催眠波。曾寶儀本來看上一個對戀人在柏林牆會合後寫的歌。出於好奇，鮑伊設想他們的故事。像所有最好的鮑伊歌曲，這個人是一個構建。它從低聲說，嘖嘖稱讚，有解說員懇求他的同伴是他的王后。大約三分鐘，對Bowie的語音語調大幅轉移到情感的哀號。當他到達行的時候“我們沒有/沒有任何事情可以幫助我們，”他的聲音是沙啞的情感。

儘管其進步的聲音，“英雄”背叛了一些很老式的情緒。這是關於一個男人拼命追求愛情的舒適和幸福，如果總是泡騰溫暖只是一天的情緒扣人心弦的故事。鮑伊寫之前悲傷的歌，但從來沒有他的聲音聽起來那麼，好了，心痛的人。

3，“年輕的美國人”（由美國年輕的）
單詞“英語華麗搖滾”和“費城靈魂”聽起來像他們應該一起去約，以及莫里西和麥當勞。然而，不僅曾寶儀不只是把它關閉，但結果是他最強的歌曲至今之一。在一個高音薩克斯和深情的合音歌手，鮑伊構建-關於一個決定性的慘況快樂的歌。他甚至設法在“生命中的一天”參考滑倒在了那裡。如果有過關於Bowie的範圍作為一個音樂藝術家的疑問，這打破了他們所有的一舉。

2，“空間怪異”（從空間怪異），
它告訴說，最初發布後的40多年裡，“空間怪異”仍然是一個奇怪的，奇怪的歌曲。由斯坦利·庫布里克1968年的傑作靈感來自2001：太空奧德賽，歌旋轉“主要湯姆”在太空中一個不幸的astronaunt被困drifiting的故事。雖然許多Bowie的最好的是根據各地的逐步構建和令人驚訝的聽眾，這是迄今為止一個做它最好的。“空間怪異”肯定感覺就像兩個或三個不同的部分歌曲融合在一起在一起。這鮑伊使得它顯得如此完美是他掌握的一個標誌。誰不無意中沿到中段鼓掌？只是說'。

1，“火星上的生命？”（來自虎背熊腰，腳蹬多莉）
虎背熊腰，腳蹬多莉仍然Bowie的最一致過癮的專輯。永遠不要有他的愛好掃地，歌舞表演式的戲劇是不是在這個超現實的軌跡更加明顯。與曾寶儀哭了一個孤獨的鋼琴開始，賽道很快建立在強度，增加一飛沖天的弦樂部分，讓軌道的百老匯值得標點符號。