With this, his second release of 1977, it became evident how good Berlin and Brian Eno were turning out to be for David Bowie. Arguably the weakest of the Germany-based trilogy, with a meandering, often unfocused second side of experimental soundscapes, and a not wholly stellar first side of essays at the pop song, somehow none of those points matter. Operating on pure instinct, the whole here simply transcends the sum of its parts and it's hard to be much more articulate about it than that. "Beauty and the Beast" is a perfectly overwrought confection that sets the tone for the first side; ditto "V-2 Schneider" for the second; and whoever thought of hauling in Robert Fripp (drunk, according to some reports) for guitar honors on the title song – itself a perfectly overwrought confection – deserves a medal. As does Fripp. As do Bowie and Eno. So medals all around – always appropriate for "heroes." Don't miss the prescience of the album closer, "The Secret Life of Arabia."
Wednesday, August 29, 2007
"Heroes" (1977)
With this, his second release of 1977, it became evident how good Berlin and Brian Eno were turning out to be for David Bowie. Arguably the weakest of the Germany-based trilogy, with a meandering, often unfocused second side of experimental soundscapes, and a not wholly stellar first side of essays at the pop song, somehow none of those points matter. Operating on pure instinct, the whole here simply transcends the sum of its parts and it's hard to be much more articulate about it than that. "Beauty and the Beast" is a perfectly overwrought confection that sets the tone for the first side; ditto "V-2 Schneider" for the second; and whoever thought of hauling in Robert Fripp (drunk, according to some reports) for guitar honors on the title song – itself a perfectly overwrought confection – deserves a medal. As does Fripp. As do Bowie and Eno. So medals all around – always appropriate for "heroes." Don't miss the prescience of the album closer, "The Secret Life of Arabia."
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