BLACKSTAR

This week, I have decided to finally review one that I have been avoiding, yet have heard amazing things about, David Bowie's final album "Blackstar." As it was released just days before his passing in 2016, it has the association of losing a true music legend. I've also heard it described as "dark," which worries me a bit. That said, many people whose opinions I trust have told me it is one of the best albums in the Bowie catalog, and very proggy. So, I have finally decided to just go for it.

Here is the musical line-up for this album:

David Bowie / vocals, electric (3) & acoustic guitars, string arrangements (1), co-producer

With: - Ben Monder / guitar - Jason Lindner / piano, Wurlitzer organ, keyboards - Donny McCaslin / flute, saxophone, woodwind - Tony Visconti / strings (1), co-producer - Tim Lefebvre / bass - Mark Guiliana / drums, percussion - James Murphy / percussion (4,5) - Erin Tonkon / backing vocals (2)

Track 1 - Blackstar (Actually it should be just an image of a black star.)

This one is nearly 10 minutes long, so that's certainly prog length. Some eerie clean guitar arpeggios and other instruments playing chords commence the song. By 15 seconds in though, Bowie is singing something I can just barely make out in 2-part harmony. But the sound of the vocals is "wobbly", if that makes any sense. Some syncopated snare rhythms and some other instruments eventually join in. Just before the 2-minute mark, a sax solo takes over. As the song progresses, the rhythm begins to take shape a bit more. The vocal sounds/effects are unsettling to me. Another sax solo begins around 3:30. The synths at 4:30 begin to bring some light to the murky sound. Then a few seconds later Bowie's beautiful singing voice emerges singing the following:

Something happened on the day he died Spirit rose a metre and stepped aside Somebody else took his place, and bravely cried "I'm a blackstar, I'm a blackstar."

On the words "I'm a blackstar," there is a different effect on the voices. From that point on, the rhythm becomes more and more steady, and his voice rings though. Until 7:45 when a similar effect from the earlier vocals returns, but with the steadier beat. The song is truly interesting and unique, things which I am certain that Bowie strove for. I am unsure whether I like it or not yet, and I'm sure that's the point. The song ends with a droning sound and some random stuff over the top.

Track 2 - 'Tis a Pity She was a Whore

Well, there's a title that is sure to garner a reaction in some! Again, probably what he was going for. After a couple of sound effects, a steady rock drumbeat sets the stage. The rhythm section and sax join in. Here are the opening lyrics:

Man, she punched me like a dude Hold your mad hands, I cried 'Tis a pity she was a whore 'Tis my curse, I suppose That was patrol That was patrol This is the war

Some of the lyrics become a bit explicit in the next verse. There are plenty of sax solos on this album. He was definitely making a statement on this album, even though I am not sure what it is. I know that he knew he didn't have much time when he made the album, so I know that had to play into the songwriting and delivery.

Track 3 - Lazarus

I definitely LOVE the Porcupine Tree song with the same title, let's see about this one. There is a moderate tempo beat, and what I believe is a bass played in its higher range at the beginning. We settle into a nice groove, with the sax being prominent again. The opening line is heart wrenching:

"Look over here, I'm in heaven."

Ouch!

I do like the groove of this one. And despite the lyrics being very emotional and triggering mine, I think this one is my favorite so far on the album. There is great interplay between the bass and drums during the sax solo. Then there is a bass solo with the groove happening behind. There are also guitar chords making accents. They bring the song to an end.

Track 4 - Sue (Or in a Season of Crime)

This one has a very syncopated groove that I love. Bowie sings smoothly over it. There are interesting effects behind everything. Not quite sure what this one is about. Cool fuzz bass feature around 3:15. It feels a bit like the scene in "Willy Wonka and the Chocolate Factory," where Gene Wilder is the only one on the boat not freaking out at the chaotic and creepy images all around but sings a disturbing song. Bowie's vocals are the calm in the center of this storm of chaos. Strange track indeed.

Track 5 - Girl Loves Me

Bowie's voice kicks this one right off with some minimal accompaniment. This seems to be partially in some sort of nonsense language:

Cheena so sound, so titi up this malchick, say Party up moodge, nanti vellocet round on Tuesday Real bad dizzy snatch making all the omies mad ? Thursday Popo blind to the polly in the hole by Friday

WTF??

The rhythm is a bit of a creepy march. I have no idea what is happening here. It's definitely DIFFERENT. It's actually kind of interesting, but not one of my favorite Bowie tracks. Also watch out for the F-Bombs in the choruses. OK, then?

Track 6 - Dollar Days

This begins with piano and a little guitar, joined by sax in a ballad style. I believe this is talking about things he'd possibly like to do but won't be able to. Nice sax solo! Despite the sadness, I like this one. He repeats the phrase "I'm dying to," several times in the song. I wonder if we should add an extra "o" on 'to"? There is a small bit of a faster drumbeat as the song is coming to a close.

Track 7 - I Can't Give Everything Away

The drumbeat carries over into this song. There is a mid-tempo soulful groove, with harmonica in a Stevie Wonder style. Bowie's voice was smooth-as-silk right up to the end. The melody reminds me of the verses in Frank Sinatra's "Witchcraft," but the groove is completely different. Great sax solo. At a little after the 4-minute mark, I believe we get the only guitar solo on the album, and it's very good. The vocals join in over the solo as it proceeds. Good song.

OVERALL IMPRESSIONS:

While I can't say that I understood everything Bowie was trying to do on this swan song album, he certainly did it well! He definitely gave his all on the album. The album left me perplexed in a few places, and I am sure that was the point. This may be one of the hardest albums to rate in all of the 100+ reviews I have written over the past couple of years. I'm going to give it a 4 out of 5 stars, as the music delivers in the way it was intended to, but I don't think it will ever be one of my favorite albums. Still, I think Bowie left us a solid parting statement here, even if I didn't quite understand all of it.

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