When Station to Station ups tempo with that little drum fill
ONCE THERE WERE MOUNTAINS ON MOUNTAINS
That part in teenage wildlife where it goes
You'll take me aside, and say
"Well, David, what shall I do?
They wait for me in the hallway"
I'll say "Don't ask me, I don't know any hallways"
But they move in numbers and they've got me in a corner
I feel like a group of one, no-no
They can't do this to me
I'm not some piece
of teenage wildlife
The bridge on I Would Be Your Slave
>I don't sit and wait...
The instrumental break in the middle of Girl Loves Me before the bass comes back in.
When the jam kicks in on Stay
The intro to Who Can I Be Now
I'm ready to shake your scheme of things.
>POOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOR DUNCE (also really underrated song)
>also the yelling in Heroes, god that's so good
>when I first heard African Night Flight, goddam
>TREMBLE LIKE A FLOOOOOOOOWER
>Girl Loves Me
>no more...free steps to heaVENNNNNNNNNNN
bowie has a ton of really good moments in his stuff
I like the Chinaman guitar riff because of how cheesey it is. It's a product of the times, you wouldn't hear that in a hit song these days. Bowie you marvellous bastard you. I like how he picked the most stereotypical Asian woman for the video, who happened to be a Kiwi Vietnamese woman.
Don't know if I can choose, but this is one of my favorites:
>Slither down the greasy pipe
>so far so good no one saw you
>Hobble over any freeway
>You will be like your DREEEEAAMS TONIGHT
I forget the name of it, but there's a documentary that came out a year or two ago about Bowie and they interviewed that guitarist. He thought Bowie would fire him after he played it for him.
DON'T SET ME FREE AS HELPLESS I CAN BE
MY LIBIDO IS SPLIT IN THREE
GIMMIE SOME GOOD OL' LOBOTOMY
or the ending in Candidate from Diamond Dogs into Sweet Thing (Reprise)
I KISS YOU
I WANT YOU TO WALK
the climax in Five Years where he almost becomes unintelligible
>tfw you realize Moss Garden is literally Blade Runner
Such a fantastic ambient track. That being said Heroes is a fucking masterpiece of an album
WILL YOU SEEEEEEE
THAT I'M SCARED AND I'M LONELYYYY
Where were you with your threads and posts like these, you fucking faggots, while Bowie was still alive, huh? Get the fuck out of my board you bandwagonning trash
>being this butthurt
Sorry. I dont know why it took Bowie dying for me to delve deeper into his discog. I already knew I would love Blackstar the moment I heard the title track back in October, and prior to that I really enjoyed Heroes.
I'm sure most people who have found recent interest in Bowie had a similar liking to his previous works as I did. We're not band wagoners, we're late bloomers.
Shhh. There were plenty of Bowie threads when he was alive.
As for me, I was wearing a Bowie shirt when I found out he died, while I was in the middle of a then-month long Bowie phase. So yeah, that's where I was.
This whole live performance.
I seriously don't get it why this album was so panned by the critics. They pointed out for David's stretched vocals in certain songs, as if he didn't do that all the time, even in studio sessions. Ever since I've listened to this, David Live has become of my all time favourite live albums.
Bowie was talked about immensely as soon as Blackstar came out.
I bet you're the type that thinks anyone who wasn't an openly obnoxious Star Wars nerd for the decade since ROTS is a bandwagoner because they talk now talk about Star Wars
The last seconds in Valentine's Day. You could just tell Bowie put his voice and heart to the limits, also that acoustic and electric guitar duo.
>First seconds of Stay
>What OP said
>Literally the entire Modern Love song.
I could go on and on about my favorite moments because there are just so many.
Damn this is a hard question. I've always loved the moment in Sound and Vision when Bowie yells "Blue, Blue, Electric blue, That's the color of my room where I will live. Blue, Blue."
Not sure if it's my favorite, but the one I absolutely adore at the moment is the saxophone in the chorus of Jump They Say.
That coupled with the GOT TO BELIEVE SOMEBODY on the last chorus really hits me.
There are so many, but the one that has always hit me, the one I love the most, even if it isn't the most emotional or crazy one, just the feel of it -
THERE'S A SHOP ON THE CORNER THAT'S SELLING PAPIER-MACHE
MAKIN' BULLETPROOF FACES, CHARLIE MANSON, CASSIUS CLAY
IF YOU WANT IT,
GET IT HERE, THEN
Definitely agreed, made that song one of my favorites ever
All of those, too. There's also that moment in the live version of Stay from the special edition of Station to Station where he finishes the repeated chorus and starts belting out STAAAAAAAAAAAAAAAAAY and such. It's live, but goddamn, Bowie.
Fuck I'm going to miss him. At least we still have this all.
>but any sudden movement
I've got to write it down
>they wipe out an entire race
and I've got to write it down
but I'm still getting educated, but I've got to write it down
and it won't be forgotten
'cause I'll never say anything nice again, how can I?
In Miracle Goodnight where the string synths come in.
This moment really dwarfs every other major moment in Bowie songs, and Black Tie White Noise really dwarfs all other Bowie albums.
I like your moment, but Black Tie White Noise is not one of his better records. There's too much middle of the road material that suffers from a very adult contemporary production choice. The best songs on it stray from the general atmosphere of the record, Miracle Goodnight being one example.
It's still a very good record, but it's in the lower half easily.
>One thing kind of touched me today, I looked at you and counted all the times we had laid
>BREAKING UP IS HARD, BUT KEEPING DARK IS HATEFUL
>SOMEWHERE SOMEONE'S CALLING ME
>Twinkle, twinkle Uncle Floyd
>Putting on some clothes, I made my way to school
>IM DYING TO
and he's down on the streets so I THROW BOTH HIS BAGS DOWN THE HALL
AND I'M PHONING A CAB
CAUSE MY STOMACH FEELS SMALL
THERE'S A TASTE IN MY MOUTH
AND IT'S NO TASTE AT ALL
IT COULD'VE BEEN ME
OH YEAH IT COULD'VE BEEN ME
THE! WAY! THAT! YOU! WALK!
I KISS YOU!
I! WANT! YOU! TO! WALK!
The guitar in that song is one of the best from any song ever
"You fall to the ground like a leaf from the tree
And look up one time at the vast blue sky
Scream out aloud as they shoot you down
No no, I'm not a piece of teenage wildlife!"
>WE HEARD A MESSAGE FROM THE ACTION MAN
>HALLOWEEN JACK IS A REAL COOL CAT
>ANY DAY NOW
>LET'S DANCE *sax goes wild*
>KEEP YOUR MOUTH SHUT
>CAN YOU HEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEERE AM I FLOATING IN MY TIN CAN
>SOMETHING HAPPENED ON THE DAY HE DIED
>the beginning of heart's filthy lesson
>THE FUCKING PIANO SOLO IN ALADDIN SANE (1913-1938-197?)
so many man holy shit
>Can hear all these in my head
Rest in peace, you glorious, glorious bastard.
I'VE NEVER DONE GOOD THINGS.
I've never done good things
I'VE NEVER DONE BAD THINGS
I've never done bad things
I'VE NEVER DONE ANYTHING OUT OF THE BLUE.
WANT AN AXE TO BREAK THE ICE
WANT TO COME DOWN RIGHT NOW.
Pretty much everything has being said
>the initial and final moment of Rise and Fall of Ziggy etc
>the start of Speed of Life
>Both It's no game's
>Wild is the Wind
>Everything on side A of Heroes
>Outside (the song)
>Seven Years in Tibet
>The sense of desesperation on Heathen (The Rays)
>HERE I AM, NOT QUITE DYING
>Station to Station (the whole song)
>Dollar Days and I Can't give Everything away
that's all i can remember
I love the ending of I'm Afraid of Americans when the insane drums come out of no where, and then David Bowie says God is an American for the last minute of the song.
Sick video too, shot right by me.
i feel like this image does not do the song justice
BY THE TIME I GOT TO NEW YORK
I WAS LIVING LIKE A KING
THERE I USED UP ALL MY MONEY
I WAS LOOKING FOR YOUR ASS
THIS WAY OR NO WAY
YOU KNOW ILL BE FREE
JUST LIKE THAT BLUE BIRD
AINT THAT JUST LIKE ME?
>His backing vocals on the end of Lou's Satellite of Love
>I saw you peeping
>As I pushed my foot down to the floor
>I was going 'round and 'round
>The hotel garage
>Must have been touching close to 94
>Oh but I'm always crashing in the same car
>mfw I'm listening to it now and this part comes up as soon as I read this post
The opening seconds of The Next Day going into that firs verse. After Where Are We Now? I was worried we were gonna get an album of ballads about ageing. Just how energetic and WEIRD the start of the album is made me overjoyed on first listen.
THIS IS MAJOR TOM TO GROUND CONTROL
I'M STEPPING THROUGH THE DOOOOOOOOR
Lady Grinning Soul
still my favorite Bowie song, chills every time
>IT'S TOO LATE, TO BE LATE AGAIN
>fist verse of Sweet Thing where his voice goes from deep as fuck "(it's safe in the city") to high as fuck ("will you seeee")
>female vocals on Sound and Vision
>"He swallowed his pride and puckered his lips..."
>"It was so-so"
>the twangy guitar work on Leon Takes Us Outside / Outside
>'Do you remember, your President Nixon -- ooo ooo ooo ooo'
>Opening, haunting line of 'I'm Deranged'
>The backing vocals in the chorus of 'Slow Burn'
>The second verse of 'Modern Love'
>The solo vocal part in 'Young Americans'
>That unending lead guitar on 'The Man Who Sold the World' is just haunting
>The vocals in the verse of 'Criminal World'
>That sigh in 'Sound & Vision' as well as that beautiful Solina synth.
All of these, for me.
Plus the silence and breathing on Time, then the guitar howling.
"I can't answer why...
Just go with me...
I'ma take you home [insane fucking nodding in the video]
Take your passport and shoes...
And your sedatives, BOO!"
And most of Joe the Lion.
I saw them live in around 2003 and Tim DeLaughter's young son nearly fell off the stage.
He came out to sing with them in his own little robe, which was funny, but it nearly turned very dark, very quickly.
Also, they're shit. It was a total fad for a while. They seemed a bit glib after a while.
In the DJ music video when random people come up to kiss him
Also that part where he goes
Tiiiiime fliiiiiies when you're haaaaaving fuuuuuun
Break his heaaaaart, break her heaaaaaart
He used to be my boss and now he is a puppet dancer
I am a D.J., and I've got believeeeeers
I'VE GOT BELIEVERS
I'VE GOT BELIEVERS
I'VE GOT BELIEVERS
>I had so many dreams
>I had so many breakthroughs
>But you, my love, were kind,
>But love has left you dreamless
>The door to dreams was closed
>Your park was real dreamless
>Perhaps you're smiling now
>Smiling through this darkness
>But all I had to give was guilt for dreaming
I love reading about all these favorite moments and thinking of how diverse they are. there's folk rock to industrial and everything in between. bowie was truly a musical god; you could hear how much he loved the art of music and how enthused he was to take it in every possible direction. the berlin trilogy alone showed how incredibly flexible he was as an artist. I'm so happy we have so much to listen to from him. he left us a truly wonderful gift.
But I love you....in your fuck me pumps
and nimble dress that trails
Because of all we've seen
Because of all we've said
We are the dead
I've never understood why this one wasn't bigger, more well-known. Not that moment, really, just that it's a good song. The real huge thing, to me, is that with that video proving it, with that sound, that delivery, that was the return of the Thin White Duke. It's all there. It's odd to me that nobody seems to catch that, or at least mention it.
man i thought i was getting over his death but just scrolling through this thread makes me hear all these songs in my head and choke up
anyway the "sweet thing/candidate/sweet thing" medley is probably my favorite and has multiple amazing moments
>so you scream out of line "i want you! i need you! anyone out there? any time?"
>tres butch little number whines "hey dirty, i want you! when it's good, it's really good, and when it's bad i go to pieces"
and a more obscure one is the weird little song "we prick you" on 1.outside
>mama can i kiss you daddy can i [...] you
>innocence passed me by
>wanna be screwing when the nightmare comes
>wanna come quick and die
the microphone setup was a stroke of genius. as bowie got louder they switched to more distant mikes so by the end he's actually screaming across the whole studio to a mike that's 50 feet away. it's a brilliant bit of audio fuckery by visconti and there's nothing pleb about it.
It's a fantastic moment. It might be obvious, but that doesn't mean it isn't the best.
A less well known one, the slap bass in the chorus of Never Let Me Down:
>oh no love you're not alone, no matter what a fool you've been
>all I have is my love of love, but love is not loving
>IM UNDER JAPANESE INFLUENCE AND MY HONORS AT STAKE
>dat station to station intro
IT'S ALL I'VE EVER WANTED
IT'S A STREET WITH A DEAL AND A TASTE
IT'S GOT CLAWS
IT'S GOT YOU
IT'S GOT MEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
Also, recently -
"Now My Death is more than just a sad song!"
Threads like this highlight how little I actually focus on music.
I listen to it, and some musicians I really know a lot about, but to pick out "That brief moment where the strings come in" makes me feel bad about how little goes unnoticed.
Oh well, I've got the rest of my life to listen to Bowie... ;_;
this website really has become a fucking clone of reddit. David Bowie was a faggot and nobody listens to his music anymore. Now all of a sudden he's the best artist ever. Your all a bunch of faggots that couldnt form an original opinion if your life depended on it.
Wrong archive link
The bridge on Space Oddity with the stylophone and mellotron. Mindblowingly good.
The intro when the bass kicks in on "Stay"
First 40 seconds on Warzawa, those horns.
The final verse on Lazarus when the saxophone comes in "OH ILL BE FREE.. JUST LIKE THAT BLUEBIRD"