#48: When The Wind Blows

 

 

Year of release: 1986

UK Peak: #44

Chart Run: {46-44-54-65} (08/11/1986 - 29/11/1986)

 

Scores: 9 (Taylor Jago), 8 (Acidburn, richie), 7 (popchartfreak, Joe.), 5 (Dandy, Colm), 3 (Severin)

Average: 6.5

Final score: 65

 

The theme song to the movie of the same name, it was the last movie song of Bowie’s ‘soundtrack period’ (unless you include Fame ’90 showing up in Pretty Woman) and another example of his struggle for consistency in the 80’s.

The film and song detail the effect of a nuclear war and its fall out in 80’s Britain, but unlike Threads or The Day After the film is animated and based on a Raymond Briggs novel.

In what may be a somewhat embellished legend the story has it that Bowie was recording in Switzerland when news of the Chernobyl disaster broke - prompting him to write Time Will Crawl. It is unconfirmed what he was recording but it was either the demos for Never Let Me Down or this single.

The song was written with Erdal Kizilcay who would collaborate with him on the Buddha Of Suburbia album 7 years later. Like most people in the 80’s Bowie was concerned about the threat of nuclear conflict and how dangerous the Cold War had become, particularly the policy of mutually assured destruction. The song’s lyrics reflect this by taking usually comforting phrases and images (lullabies, nature) and giving them an ominous overtone.

The single didn’t capture the public imagination in the same way the film did and it stalled outside the UK Top 40.

 

In the film in question, a elderly couple prepare for a nuclear bombing by the URSS. When the bomb does drop, they go into their shelter and stay for a couple of days, then come out and get sick of radiation poisoning, and die. Sounds cheerful.

#47: Fame '90

 

 

Year of release: 1990

UK Peak: #28

Chart Run: {34-28-34-63} (07/04/1990 - 28/04/1990)

 

Scores: 8 (Acidburn, Dandy, Colm), 7 (popchartfreak, Joe., Fgiboy2511), 6 (AH Gold), 4 (Severin, Taylor Jago)

Average: 6.55

Final score: 65.55

 

In 1990 Bowie was still a full time member of Tin Machine, a group formed to help him rediscover his passion for music. At the same time he felt that to keep himself interested in solo work he needed to break from his past. Thus he conceived the Sound + Vision tour; he would play all his hits, as chosen by his fans, and then he would retire them permanently from his live shows. This would be the last time any would be played live. As it turned out he would bring the occasional one back from time to time as it suited him but often in a re-worked form.

To promote the tour, his forthcoming compilation Changesbowie and the reissue of all his RCA albums in expanded format on CD, Bowie needed a single. He wanted to remix a big US hit and the obvious choices were Let’s Dance (‘too recent’), and Fame. ‘It covers a lot of ground, Fame; it stands up really well in time. It still sounds potent. It's quite a nasty, angry little song. I quite like that.’

The remixed version also appeared in the film Pretty Woman.

 

Is there actually any difference between tghis and the original? I'd definitely call it more of a remaster than a remix.

#46: Underground

 

 

Year of release: 1986

UK Peak: #21

Chart Run: {26-21-25-31-45-61-x-86} (21/06/1986 - 09/08/1986)

 

Scores: 10 (Acidburn, Taylor Jago), 9 (richie), 7 (popchartfreak), 5 (Joe., Colm), 4 (Severin), 3 (Dandy)

Average: 6.625

Final score: 66.25

 

The mid 80’s are sometimes referred to as Bowie ‘soundtrack years’ as a he seemed more interested in building on his film career than he did his musical one. Underground was the only UK single from the Labyrinth soundtrack, as following its commercial failure, the planned follow up; As The World falls down was cancelled. Bowie himself wasn’t interested in promoting the single and had no input into the video.

It has often been noted that he wasn’t particularly interested in the music he was producing at the time either as Underground has not been kindly reflected on by Bowie. The songs lyrics were rushed and despite having Albert King on guitar, Chaka Khan, Cissy Houston and Luther Vandross in the gospel choir, all of them are underused and too low in the final mixing. Bowie has never performed any version of Underground live which is rare for any of his solo work prior to 2003.

 

This definitely finishes way too low here. I wasn't expecting it to do that well but I was hoping for it to make the top 40 at the very least. Anyway, it's my personal favourite from the Labyrinth soundtrack, and there are quite a few worse songs which are higher (such as Never Let Me Down).

#45: DJ

(from Lodger)

 

 

Year of release: 1979

UK Peak: #29

Chart Run: {29-31-36-56-70} (21/07/1979 - 18/08/1979)

 

Scores: 8.5 (Taylor Jago), 8 (Severin, richie), 7 (popchartfreak, Joe.), 6 (Dandy), 5 (Acidburn), 4 (Colm)

Average: 6.6875

Final score: 66.875

 

The song was Bowie’s criticism of the DJ as celebrity culture that was becoming more pronounced in the late 70’s. A somewhat surprising choice for a single that, unsurprisingly, didn’t make much of a mark on the UK charts . It was deemed unfit for release elsewhere and most markets had Look Back In Anger or Yassassin instead.

DJ has Bowie affecting a vocal style inspired by David Byrne of Talking Heads, with whom Eno had begun working and David himself had befriended.

 

It's a rather unusual song, but it's much better than Look Back In Anger and I'm glad it was released as a single here over that. The line "I am a DJ. I am what I play" is probably the most memorable part of the song though.

Edited March 7, 20169 yr by Taylor Jago

*I am a DJ. I am what I play

Edited March 7, 20169 yr by Severin

#44: The Buddha of Suburbia (with Lenny Kravitz)

 

 

Year of release: 1993

UK Peak: #35

Chart Run: {35-38-69} (04/12/1993 - 18/12/1993)

 

Scores: 8 (popchartfreak, Severin, Acidburn), 7.5 (Joe.), 7 (Dandy, Taylor Jago), 6 (Fgiboy2511, Colm), 3 (richie)

Average: 6.72

Final score: 67.22

 

In 1993 Bowie recorded the theme song for the BBC production of the same name. He also recorded the soundtrack for the program. However the album released under the soundtrack title is not the shows soundtrack. Only the album’s title track featured in the show, and the remaining songs were created specifically for the release.

It remains Bowie’s ‘secret album’ that only the truly dedicated fans bought. The reasons for it being labelled a soundtrack have never been made clear, but in doing so it was consigned to forgotten status, particularly since it was out of print for a long time.

In 2003 Bowie named it as his favourite of his albums and many others have suggested it as his best work from the 1984-2000 period. The album covers a number of different genres, from Folk, to Jazz, even with hints of his Art Rock output, and like Low and ‘Heroes’ it includes a couple of instrumental tracks.

The single featured Lenny Kravitz on guitar and draws noticeably from early works – Space Oddity is in there, as is a lyric from All The Madmen, off the Man Who Sold The World album.

 

At #44 we have The Buddha of Suburbia, which features Lenny Kravitz. It spent two weeks in the UK top 40. It's not a bad song, but it isn't particularly memorable.

The last two singles definitely deserve higher placings, considering there's some turkeys still to come.

Edited March 19, 20169 yr by Severin

#43: Never Let Me Down

(from Never Let Me Down)

 

 

Year of release: 1987

UK Peak: #34

Chart Run: {59-41-37-34-35-64} (29/08/1987 - 03/10/1987)

 

Scores: 10 (Acidburn), 8 (popchartfreak, Taylor Jago), 7.5 (Joe.), 6 (Colm), 4 (Severin, dandy.)

Average: 6.78

Final score: 67.85

 

The title track and 3rd single from his 1987 album, Never Let Me Down was written about his personal assistant, Coco Schwab. As such it is a platonic love song, and according to Bowie, the most personal song he’d written to date.

‘My nadir was Never Let Me Down. It was such an awful album. I’ve gotten to a place now where I’m not very judgmental about myself. I put out what I do, whether it’s in visual arts or in music, because I know that everything I do is really heartfelt. Even if it’s a failure artistically, it doesn’t bother me in the same way that Never Let Me Down bothers me. I really shouldn’t have even bothered going into the studio to record it. [laughs] In fact, when I play it, I wonder if I did sometimes’.

David Bowie, 1995.

 

This definitely should have finished a good 10 places lower, in my opinion. David's vocals are ridiculously nasally, the production isn't that impressive, and it's the worst single from his worst album (that doesn't mean it's his worst). How this beat Day-In Day-Out I'll never understand.

#42: Little Wonder

(from Earthling)

 

 

Year of release: 1997

UK Peak: #14

Chart Run: {14-38-61} (08/02/1997 - 22/02/1997)

 

Scores: 10 (Dandy, AH Gold), 9 (Colm), 7.5 (Taylor Jago), 7 (Severin), 6 (popchartfreak, Acidburn, Joe.), 2 (richie)

Average: 6.85

Final score: 68.5

 

Little Wonder is the 2nd single from the Earthling album, and is Bowie fusing Drum & Bass loops and effects to a more traditional Rock sound. Much of the song has been described as reminiscent of The Prodigy’s work.

Bowie has described the song as being put together in a magpie-like fashion. Ideas and sounds were taken from a multitude of sources. Distorted noises litter the track. Bassist Gail Ann Dorsey’s parts were recorded whilst she was trying to get her pedals to work correctly. She was unaware she was being recorded. Bowie’s vocals began as a joke to see if he could name all the Seven Dwarfs in one song. Eventually he resorted to making up dwarf names.

 

At #42 we have the second single from Earthling and Bowie's last top 15 (excluding the Under Pressure remix) for 16 years. This is probably the most unusual song Bowie has ever made, and sounds a lot like something The Prodigy would do.

Still not huge casualties for me!

#41: Seven

(from Hours...)

 

 

Year of release: 2000

UK Peak: #32

Chart Run: {32-57} (29/07/2000 - 05/08/2000)

 

Scores: 9.5 (Taylor Jago), 8 (Dandy), 7 (popchartfreak, Severin), 6.5 (Joe.), 5 (Acidburn, Colm)

Average: 6.85

Final score: 68.57

 

Remixed for single release by Marius De Vries , the song was the final single from the ‘Hours...’ album. The remix ups the tempo and changes the key slightly giving it a much more upbeat feel.

The song’s protagonist, like Solomon Grundy, has only seven days to live and son spends his time, wandering through churchyards and empty cities trying to remember who his family were and what they sounded like. Bowie has referred to it as a silly ‘hippy dippy’ song.

By the time the single came out Bowie was already working on the follow up album Toy.

 

Just missing out on a place in the top 40 is my personal favourite Bowie song released in the noughties. Also, it is the highest placed song in this countdown to have a number in its title (TVC 15 was the other, and you could include Fame '90 in that list aswell).

#40: Strangers When We Meet/The Man Who Sold The World (Live)

(from Outside)

 

 

Year of release: 1995

UK Peak: #39

Chart Run: {39-62} (02/12/1995 - 09/12/1995)

 

Scores: 9.5 (Dandy, Taylor Jago), 8 (Severin), 7 (Joe., Colm), 4 (Acidburn), 3 (popchartfreak)

Average: 6.85

Final score: 68.57

 

Strangers When We Meet was originally released on the Buddha Of Suburbia album, but with that collection inexplicably branded as a soundtrack album the song had been overlooked by a large number of fans. Bowie always felt the song deserved a wider audience so he re-recorded it with a barely changed arrangement and put it as the final track on Outside. The song was added almost as an after-thought and would probably have fared better as a realise in its own right. Thematically it doesn’t fit either album on which it features

The lyrics concern a couple who have become so alienated from each other that they barely even speak any longer and have become emotionally aggressive with each other. The songs narrator actually revels in this it is the only feelings they have.

The ‘live’ version of The Man Who Sold The World is actually a studio version that was substantially re-worked from the original arrangement.

 

At #40 we have Strangers When We Meet/The Man Who Sold The World (Live), the second single from Outside.

of the last batch I'll take the maligned Never Let You Down over the others - they may be more cutting edge but they lack an old-fashioned "song" in the sense that NLMD has a gorgeous melody with a beautifully-delayed hook, a sweet sentiment and Bowie's upper-register vocal gives it grace despite the very 80's arrangement. I may be swayed by nostalgia hearing it on US radio in california at the time, where it fit in nicely in a way the other more alternative tracks never would :P

 

Bowie was always dismissive of his populist 80's work, but there's room for it in his back catalogue too ...

Little Wonder should be higher, in my opinion.

#39: Sorrow

(from Pin Ups)

 

 

Year of release: 1973

UK Peak: #3

Chart Run: {16-4-3-3-4-5-15-20-28-32-32-34-30-34-43}

 

Scores: 9 (Taylor Jago), 8.5 (Joe.), 8 (popchartfreak, richie), 7 (Severin, Acdiburn, Colm), 1 (AH Gold)

Average: 6.94

Final score: 69.44

 

Originally recorded by The McCoys in 1965, Sorrow was taken from Bowie’s covers album. It would feature a number of David’s favourite songs from the 1964-67 era in England, therefore making The Merseys version of the song the one that inspired this recording. A largely faithful cover, unlike some on the album, this was released as the only single from the album.

However, tucked away on the B-side was a version of Jacques Brel’s Port Of Amsterdam which was a live favourite since the Ziggy Stardust era and may possibly be an outtake from the album.

 

And we lose a massive hit as Sorrow is eliminated in 39th place. It was the only single from the Pin Ups, but amazingly had more success than the likes of Rebel Rebel and Starman. Shocking, I know.

 

It feels like the quality just shifted up a gear after the last 2

#38: Scary Monsters (And Super Creeps)

(from Scary Monsters (And Super Creeps)

 

 

Year of release: 1981

UK Peak: #20

Chart Run: {49-25-20-20-29-44} (10/01/1981 - 14/02/1981)

 

Scores: 10 (Acidburn, Joe.), 9 (Severin), 8 (popchartfreak, Taylor Jago), 6 (richie), 5 (Colm), 4.5 (Dandy), 2 (AH Gold)

Average: 6.94

Final score: 69.44

 

The 3rd single from the album Scary Monsters utilises the ‘and super creeps’ suffix which is sometimes also added to the album itself, although most issues of the album have the shorter variant. The title was inspired by a Kellogs cornflakes advert that promoted a toy line – scary monsters and super heroes.

Notable again for Robert Fripp’s distinctive guitar work, the song is Bowie’s most out and out Rock single since Diamond Dogs and its menacing lyric, horror film aesthetic and bass heavy melody made it a strong influence on the burgeoning Goth scene. In fact, it has been referenced as a ‘sister song’ to Joy Division’s She’s Lost Control – another prime influence on Goth.

 

This should definitely be higher. Alright, it's not a patch on the two previous singles from the album but it's still a great song, and it could have become a Halloween staple. But sadly, that wasn't to be.

#37: Rebel Never Gets Old

 

 

Year of release: 2004

UK Peak: #47

Chart Run: {47-68} (26/06/2004 - 03/07/2004)

 

Scores: 10 (Acidburn), 8 (Severin), 7 (Taylor Jago), 6 (Joe., Colm), 5 (Dandy)

Average: 7

Final score: 70

 

Following the Reality album (which had no UK single), Bowie asked his fans to create a mash up featuring a song from Reality and an old song. Mark Vidler ‘won’ the challenge when he combined Never Get Old with Rebel Rebel.

The single was released on 12” and CD single only, with the CD being particularly hard to get hold of. It was also released as a download.

It would, for many years, claim the title of Bowie’s last ever single following his heart attack during the Reality tour and subsequent retirement from music.

 

Unfortunately this finishes a bit too high here in my opinion. It's not bad, but it's nothing remarkable barring the fact it would be the final time David Bowie charted on his own until 2013's Where Are We Now?.

#36: The Hearts Filthy Lesson

(from Outside)

 

 

Year of release: 1995

UK Peak: #35

Chart Run: {35-66} (23/09/1995 - 30/09/1995)

 

Scores: 10 (Severin, Fgiboy2511, Colm), 8 (Taylor Jago), 7 (Dandy), 6 (Joe.), 3 (popchartfreak), 2 (Acidburn)

Average: 7

Final score: 7

 

In 1995 Bowie unveiled his new self. Gone were the expensive suits and elder statesmen persona he’d been portraying since the 80’s. In its place was an edgier look – eyeliner, leather, twisted grimaces and twitchy movements. Musically the shift was dramatic too. Once again re-united with Brian Eno, they returned to the Art Rock sound which they helped pioneer. A sound that had, itself inspired Post Punk and eventually the Industrial Rock of the 80’s and 90’s. Here he was taking inspiration from those who had been inspired by him. This shift would also garner Bowie a whole new, young audience. For those too young to have experienced his earlier incarnations this was their Bowie.

Nine Inch Nails is the obvious (if slightly lazy) reference, for this particular track. Bowie has always cited The Young Gods as the inspiration for much of the album. However, Bowie and Trent Reznor would tour together and become firm friends. Reznor would also remix the song for its single release.

Bowie would infuse the entire album with an artistic concept and story - the abduction, torture and murder of a young girl, and the detective trying to figure it all out.

The song became an immediate live favourite and can be found playing over the end credits to the film Se7en. Initial reviews were lukewarm although many appreciated the song better in the context of the album.

 

At #36 we have the song with the best intro of the album. The Hearts Filthy Lesson is a song which commands your attention, and it gets it.

#35: Cat People (Putting Out Fire)

(from Let's Dance)

 

 

Year of release: 1982

UK Peak: #26

Chart Run: {45-32-26-28-29-37} (10/04/1982 - 15/05/1982)

 

Scores: 11 (Severin), 10 (Joe.), 9.5 (Taylor Jago), 9 (AH Gold), 8 (Acidburn), 7 (popchartfreak, richie), 6 (Dandy), 4 (Colm), -1 (Fgiboy2511)

Average: 7.05

Final score: 70.5

 

In 1981 Bowie had felt moved to leave New York following John Lennon’s murder and relocated to Switzerland. At the time Bowie had decided that his deal with RCA was effectively dead, even though a full year remained on the contract. He decided that 1981 would be a year off.

However, it was here that Paul Schrader, the director of the film Cat People approached Bowie about contributing to the theme for his upcoming movie of the same name. The music had already been written and recorded by Giorgio Moroder and Bowie was required only to provide lyrics and vocals. He agreed, knowing he could continue to release music through a different label because it was on a soundtrack this time. Bowie’s parts were recorded in July 1981 at the same studios that Queen were then working. It was here that Queen and Bowie would create Under Pressure (which was released through EMI – Queen’s label).

Bowie’s contribution bears very little connection to the film and gives the impression of a cathartic release, particularly as the intro gives way to the full band kicking in.

In 1983 Bowie intended to include this version on the album Let’s Dance, but ironically, Moroder’s label; MCA, were against the inclusion of material by their artist on a rival label. The song was subsequently re-recorded for the album, but Bowie was critical of the recording, preferring the original take. The original version was memorably included in Quentin Tarantino’s film, Inglorious Basterds.

 

How is this not higher? This is absolutely brilliant. Anyway, it is the most divisive track in this ranking, and is the only one to receive both a 11 and a -1. It is also the highest placed track to receive a -1, and the lowest placed track to receive a 11.