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Track Listings
| 1. Little Wonder |
| 2. Looking For Satellites |
| 3. Battle For Britain (The Letter) |
| 4. Seven Years In Tibet |
| 5. Dead Man Walking |
| 6. Telling Lies |
| 7. Last Thing You Should Do |
| 8. I'm Afraid Of Americans |
| 9. Law (Earthlings On Fire) |
Product Description
Amazon.co.uk Review
In his fourth decade of making music, David Bowie's magpie instincts were still as strong as ever on Earthling, this time seeing him fall headfirst into the glittering world of drum & bass. A hectic whirl of programmed sounds and live musicians, Earthling relies heavily on the talents of longstanding Bowie collaborators Reeves Gabrels on guitar and dextrous Aladdin Sane-era keyboard player Mike Garson. As strong on production and musicianship as anything that David Bowie has recorded during his career, Earthling peaks with the Brian Eno collaboration "I'm Afraid of Americans", a petulant and witty swipe at North American culture. Ultimately, however, rather than enhancing Bowie's songwriting, Earthling's overwhelming debt to drum & bass stifles some of the talent that hooked casual listeners into his equally adventurous musical experiments of the 1970's. --James Littlewood
CD Description
EARTHLING is a strange album title coming from a man who's made a career out of ruminating on rock and rollers from Mars and other faraway places. But after all this time, it makes sense. Bowie's 1970s experiments in dance music, art-rock and other space-age pop forms helped lay the groundwork for modern styles like ambient and techno, and now he comes across as an astronaut inspired by what he's found and looking for a way to bring it all back home. If his most daring '70s albums were a conscious separation from rock and roll, then EARTHLING, for all its jungle beats, ambient noises and industrial dynamics, is a kind of return, an attempt to incorporate all he's learned into the music he started with.
EARTHLING sounds like no other rock album. The beats, which combine live drumming with loops, have the fast, herky-jerky drive of the techno style known as drum-and-bass; the guitars are an explosive mix of live action and samples; there's an occasional dub-reggae synth line; and Bowie's voice doesn't always come clearly through the clanging music. The disjointed arrangements alternately recall danceable rock bands like Big Audio Dynamite and rocking dance artists like Moby. But it's rock nonetheless, with strong, melodic verse-chorus-verse songs like "Little Wonder" and "Dead Man Walking" that use these sounds the way Nirvana used metal and Madonna used house music--as slaves in the service of the gods of pop.
EARTHLING sounds like no other rock album. The beats, which combine live drumming with loops, have the fast, herky-jerky drive of the techno style known as drum-and-bass; the guitars are an explosive mix of live action and samples; there's an occasional dub-reggae synth line; and Bowie's voice doesn't always come clearly through the clanging music. The disjointed arrangements alternately recall danceable rock bands like Big Audio Dynamite and rocking dance artists like Moby. But it's rock nonetheless, with strong, melodic verse-chorus-verse songs like "Little Wonder" and "Dead Man Walking" that use these sounds the way Nirvana used metal and Madonna used house music--as slaves in the service of the gods of pop.
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