Released on his 69th birthday and just two days after Bowie’s death, Blackstar—like its father—shot for the stars. And the starman waiting in the sky was right, he did blow our minds. Debuting January 8th, 2016 at No. 1 on the Billboard 200 chart, Blackstar perfectly closed his decades-long career. Though he previously sang of the rise and fall, all did not come ashes to ashes, instead, Bowie’s first U.S. album skyrocketed. Performing a Lazarus-like miracle, Bowie’s work came back from the dead as it made No. 1 for the first time in his career.
Oh baby, just you shut your mouth, is what listeners are exclaiming upon listening to this monumental album. Differing from his previous style, Blackstar has an avant-garde jazz and experimental rock feeling. These changes bring a sophisticated, unique, as well as artsy vibe to Bowie’s music. Young americans are being exposed to the golden years of Bowie’s music in his most recent creation, Blackstar.
Running a whopping nine minutes and 58 seconds, Blackstar, released November 19, 2015, opens the album with a sensation more magical than the Labrynth and more dazzling than Bowie’s eyeshadow. Beat heavy and accompanied by drawn out, vibrato vocals, Bowie creates an interesting, sinuous masterpiece in this song.
Running four minutes and 53 seconds, ’Tis a Pity She Was a Whore, uses big band elements, choral background vocals, raunchy and witty lyrics, and Bowie’s classic crooning.
Running six minutes and 22 seconds, Lazarus, provides sentimental and introspective vibes as Bowie reflects on his life. And just like that bluebird, he is now free.
Running four minutes and 40 seconds, Sue (Or In a Season of Crime), creates a musical moshpit. The instruments and vocals are going their separate ways, but somehow work perfectly together. The riff of the electric guitar and spacey electronic sounds come together at the crash of the percussion, and are balanced by Bowie’s vibrato.
Running four minutes and 52 seconds, Girl Loves Me, employs vocal licks, need I say more? Bowie broadcasts his talent by exploring different vocal skills, reminding us of his post 90’s tenor as well as reinforcing the baritone millennial’s grew up hearing.
Running four minutes and 45 seconds, Dollar Days, begins with the sound of rustling dollars and soft piano, and eases into the meat of the song with a sultry sax solo. The guitar and drums pick up, but the vocals, lyrics, piano, and saxophone ensure the beautifully melancholy tone.
Running five minutes and 47 seconds, I Can’t Give Everything Away, is percussion-heavy and holds a simple lyrical progression. I’d like to imagine this is simple for Bowie, but even this song has his unique musical flavor.
So, whether or not you're a fanatic of Bowie’s work, make sure to check out this modern love and pay homage to his swan song.
