And One Album: “Spot”

The differences between this version of AS and the earlier issue on Rykodisc are mostly cosmetic. The use of the Sonic Solutions No Noise program and 24 bit mastering has sweeted the sound giving it a bit more depth and warmth. Since this one of the few reissues that didn't have bonus tracks to begin with little is lost in the transition to EMI.

I'd much rather have commentary from Bowie about the making of the album (much as Elvis Costello did with his reissued catalog)to give the listener a sense of what went on during the recording of this classic album. Always regarded as a poor cousin to Ziggy by most critics, what this album lacks in "concept" it more than makes up for in ambitious song writing and lyrical depth. In many respects, this is a step forward from that classic album showing further development in Bowie's songwriting.

Simply put, this is one of the greatest albums ever recorded. It is the benchmark by which other other albums are judged... as any Beatle album is used as a benchmark. The production, the songs, the performances (especially by guitarist Mick Ronson, who was way ahead of his time, and pianist Mike Garson), make this a classic. From the straight ahead rock of "Watch That Man" and "Cracked Actor", to the avant-gard jazz stylings of "Aladdin Sane", the chugging drive of "Panic In Detroit", to the Broadway meets Glam Rock stylings of "Time", to his classic interpretation of "Let's Spend the Night Together" (which would be a precursor to his "Pin-Ups" album) - this is David Bowie at the peak of his creativity. This is one album I have listened to non-stop since the day I first bought it in the early 70's, and I still hear something new and exciting each time I put it on.

This weird follow-up to Ziggy Stardust isn't really a rock album, with the exception of Watch That Man, The Prettiest Star, Cracked Actor and The Jean Genie, four classic rock numbers of which the latter was a prelude to punk with its short, sharp riffs and inherent aggression. Songs like Time, Aladdin Sane and Lady Grinning Soul are like futuristic torch songs, mostly bleak observations with slow arrangements over loungey piano music. His cover of Let's Spend The Night Together is fast, dispassionate and throwaway, not an exceptional addition to his oeuvre but a tribute to 60s pop like his Pin-Up album. Although there's some great songs here, overall this album is not one that invites repeated listening to the rock music fan, apart from the aforementioned songs like The Jean Genie and The Prettiest Star. It's an album of interesting experimentation in both the lyrics and the music and quite valuable on that level, but perhaps too stylistically weird. That's why so few tracks from Aladdin Sane ever make it onto Bowie compilation albums.

Riding on the creative high of "Ziggy Stardust" David Bowie created a masterpiece of thematic glam-rock. This album has been described as the Americanized version of "Ziggy", but it truly stands alone on it's own merits, rather than being a knock-off of "Ziggy" as some people have called it. It kicks right into high gear with the urgent "Watch That Man" and quickly sets a different pace with the moody, jazzy "Aladdin Sane". In my opinion this is the strongest track on the album. Mike Garson's psycho piano solo and fill-ins are genius. This is as creative and enjoyable as any Bowie tune...ever. The album has many rockers and 45-type material to satisfy everyone, yet it never sacrifices quality or imagination. Even the remake of the Stones "Let's Spend the Night Together" is a brilliant, original arrangement. I'm certain the Stones never thought of this arrangement while writing this tune. "Cracked Actor" begins with Mick Ronson's guitar puking distortion which eventually finds the song's tune and then kicks [rear]. A classic hard rocker. "Time" shows the theatrical creativity of Bowie's vocals and "Panic In Detroit" and "The Jean Genie" show more of Bowie's creative rock twist and Mick Ronson is at his best. The percussion in "Panic" is awesome and drives the song along with the great guitar work. "The Prettiest Star" is a 50's throwback with great background vocals. All in all this package is every bit as strong as "Ziggy" and maybe a little more creative in some respects..especially the singing and instrumental arrangements. The sound quality is excellent, the band is tight yet creative, and the addition of Mike Garson on piano gave this collection a new feel that sets it apart from other Bowie material to this point. Please understand that I LOVE "Ziggy" and in no way want to diminish the brilliance of that album, rather I just want to give "Aladdin Sane" the praise and recognition that it truly deserves.

For me, David Bowie never topped this one. Compared to ALADDIN SANE, ZIGGY was just a warm-up exercise, but here he's full-out. "Watch That Man," with it's Stonesy-Mottsy push, opens the album on a kick-a** note, then "Aladdin Sane (1913-1938-197?)" and "Drive-In Saturday" continue with skewed slices of the craziness that was surrounding Bowie at the time. "Panic In Detroit" and "Cracked Actor" are two of his most frenetic rockers, as is "The Jean Genie," and all three of these songs have the Spiders From Mars backing him to the hilt. True, Bowie's cover of "Let's Spend The Night Together" seems to want to devolve into camp along the way, but somehow it never quite does, thank goodness. Finally, "Lady Grinning Soul" has that death's-head beauty that later surfaced on Lou Reed's BERLIN album.

The legend has it that Bowie penned most of these songs while traveling around doing ZIGGY STARDUST throughout the US, and with all of the hype, hangers-on and general lunacy that seemed to be the stuff of his story in 1973, something like ALADDIN SANE was bound to emerge. But who'd have guessed it would have had as lasting a musical impact as it does? A great one!