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To hear a song sample, click on "Listen" by that sample.

1. It's No Game (Part 1)	Listen
2. Up The Hill Backwards	Listen
3. Scary Monsters (And Super Creeps)	Listen
4. Ashes To Ashes	Listen
5. Fashion	Listen
6. Teenage Wildlife	Listen
7. Scream Like A Baby	Listen
8. Kingdom Come	Listen
9. Because You're Young	Listen
10. It's No Game (Part 2)	Listen

Description
Fresh off his Berlin trilogy (LOW, HEROES, LODGER), David Bowie released SCARY MONSTERS, an album that continued the cool, detached, electronic-flavoured sound he'd been experimenting with on the aforementioned records. Robert Fripp's distinctively angular guitar style contributes greatly to the resulting Kraftwerk-flavoured funk of "Fashion" and the jittery paranoia of the title track. Elsewhere, Bowie updates the saga of Major Tom with "Ashes to Ashes" and turns to Tom Verlaine for the new wave nihilism of "Kingdom Come" which alsofeatures Fripp on guitar.
Robert Fripp was far from the only great guest invited to play on SCARY MONSTERS. Pete Townshend's swirling guitar on "Because You're Young" made it an underrated classic in Bowie's canon. SCARY MONSTERS provedto be David Bowie's last musical effort for a while as he spent the next three years pursuing a career in acting beforereturning to the studio in 1983 to record LET'S DANCE.

3 Reviews 5 star:  (1) 4 star:  (2) 3 star:    (0) 2 star:    (0) 1 star:    (0)           Average Customer Review (3 customer reviews)		Share your thoughts with other customers:
Most Helpful Customer Reviews   3 of 3 people found the following review helpful: Why issued as SACD?, 9 Nov 2007 By  C. S. Grant (London & Essex) - See all my reviews    This is one of the great Bowie albums. I have to drop a star for this edition, as I bought the SACD, believing for some reason that it would be a surround sound version. Unfortunately that's not the case. The album sounds better than my original CD and vinyl, but having now bought this for the third time, I thought I was getting something extra. The music still stands up after all these years. However, don't cheat the record buyer and make it clear that it is just stereo, as otherwise it's pointless issuing it as a SACD.  Comment | Permalink | Was this review helpful to you? (Report this)   1 of 1 people found the following review helpful: Outstanding, 17 Oct 2007 By  J. Leslie "pasolini63" (UK) - See all my reviews    I pretty much agree with all Jason P said above, although I think the whole thing from beginning to end is fabulous. Agreed, the old "Side 2" takes a while to appreciate, but gets better and better with each listen. I love the sound of this, it's got that late New York 70s feel, nodding to Television and Talking Heads in particular, and Fripp's exceptional guitar playing on the title track is worth the price alone. Unfortunately this version omits the 4 bonus tracks on the Ryko, which is a great pity because they enhance the album. Try and get the 1991 reissue if you can but failing that, this remains essential listening.  Comment | Permalink | Was this review helpful to you? (Report this)   3 of 5 people found the following review helpful: 1980's New Wave joy..., 22 Sep 2007 By  Jason Parkes "We're all Frankies'" (Worcester, UK) - See all my reviews    Where did Bowie lose it? - many think that the great run of 70s albums from Bowie ended with "Heroes", or if more adventerous, 'Lodger' - but rediscovering this LP after a few years, 'Scary Monsters' seems to be the conclusion to the journey began with 'The Man Who Sold the World' at the start of the decade. 'Scary Monsters' was recorded at the point Bowie was cleaning himself up, after the drug/diabolism years in LA and the hedonistic period spent with Iggy Pop and Brian Eno in West-Berlin. With co-producer Tony Visconti, Bowie fashions an album that seems to conclude most directions he'd been exploring in the 1970s - the backing vocals to 'Up the Hill Backwards' could be part of the soul thang most explored on 'Young Americans', while 'Because You're Young' could have featured on one of the early 70s glam albums, as the Fripp-heavy tracks nod to 'Low' and "Heroes"...and the whole New Wave thing, most of which was influenced by Bowie ('Teenage Wildlife' also alludes to punk, which like most post-punk, Bowie heavily influenced!). & weirdly Bowie did his version of the New Wave inspired by himself and threw down an album that bested most Bowie-influenced albums of the era. It felt like the end of things, a conclusion to the direction he'd been following, so following the 'Baal' e.p., unsurprising that Bowie went towards the mainstream, a mostly unsatisfying experience... 'Scary Monsters' is no doubt an album of two halves - the second half isn't quite as great, but certainly ain't bad either. 'It's No Game (Part 2)' is fine, but 'Part 1' is much wilder - the difference between the two symbolises the difference in quality of both sides. The cover of Tom Verlaine's 'Kingdom Come' is fine, and in line with many of Bowie's great albums that featured a pertinent cover version - 'Teenage Wildlife' is quite underrated, but does suffer from having to follow the brilliant five opening tracks. 'Scream Like a Baby' and 'Because You're Young' are just OK, the latter might appeal to some as Pete Townshend pops up on guitar - and would return on Bowie's return to form that was 2002's 'Heathen.' The second half is not bad...maybe it would have been improved by the presence of some nice bonus tracks, e.g. 'Crystal Japan', 'Alabama Song' or tracks from the 'Baal' e.p. ? The first half is fantastic, as great as anything from Bowie's brilliant career in the art decade that was the 70s. The presence of Robert Fripp is particularly welcome, Fripp was all over the place at the time, turning up on records by Blondie, Peter Gabriel and Talking Heads, as well as recording with Brian Eno and Daryl Hall - here the King Crimson-guitarist sounds like he's spraying his trademark sound all over the place. His influence on Blur's Graham Coxon is very much apparent on 'It's No Game (Part 1)' and 'Fashion' - the former has a riff which seems to predict Blur's 'Girls and Boys', while the latter is very 'London Loves.' Michi Hirota adds some great Japanese vocals which contrast brilliantly with Bowie's vocals and Fripp's guitar - the "Documentaries on refugees..." rap is great, Bowie's best rant since that bit on 'We are the Dead.' 'Scary Monsters (& Super Creeps)' sounds like Bowie doing 'Idiot'-Iggy, and set the tone for bands like The Psychedelic Furs and the Sisters of Mercy - I'd forgotten how great it was, and how much it rocks! The first half concludes with two of Bowie's best known songs, the hit singles 'Ashes to Ashes' and 'Fashion' - two songs that I always feel go together perfectly (not just due to the fact they follow each other on most Bowie best ofs!). 'Ashes to Ashes' was the first Bowie song I was aware of, and I found the famous video memorable too - it's spacefunk and a sequel to 'Space Oddity', as well as a direct reference to all of Bowie's problems the previous decade. Bowie buries Major Tom, offers up some horrific lyrics ('Jap girls in synthesis', the end of the world as you're broke and bald, 'sordid details following'...) - but with the lines "I want an axe to break the ice/want to come down right now" transcends all those problems. The coda "My mama said to get things done/You'd better not mess with Major Tom" sounds like a great farewell...'Fashion' follows with more Fripp and a futuristic funk sound that embraces New York - predicting a lot of music to come, and offering up some catchy pop nonsense with some great call/response lyrics. Bowie was onto his next thing, and recorded with Bernard Edwards and Nile Rodgers soon after...the next episode was beginning.  Comment | Permalink | Was this review helpful to you?