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Track List
01) Station to Station
02) Golden Years
03) Word on a Wing
04) TVC15
05) Stay
06) Wild Is the Wind
01) Station to Station
02) Golden Years
03) Word on a Wing
04) TVC15
05) Stay
06) Wild Is the Wind
10:14
4:00
6:03
5:33
6:15
6:00
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1976
Rock
Weird
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Station to Station ist ein Studioalbum von David Bowie, das im Januar 1976 erschien. Bowie gelingt hier eine Mischung aus amerikanischer Rhythmik und westeuropäischen Harmonien und legt sich für diese Schaffensphase ein Alter Ego zu, den Thin White Duke, eine schattenhafte Figur, die von Amerika nach Europa zurückkehrt, um ihre Wurzeln zu erkunden.
David Bowie betont in den Interviews dieser Zeit, dass er mit der Single Fame 1975 und deren Nummer-1-Platzierung in den US-Charts alles erreicht habe, was er wollte. Nun möchte er endlich das machen, wozu er Lust habe. Diese Aussage trifft stilistisch bereits auf Station to Station zu, wo Soul- und Funkeinflüsse der vorangegangenen Schallplattenproduktion Young Americans, aber auch erste akustische Hinweise auf seine kommende Schaffensphase mit elektronischen Instrumenten zu finden sind.
Die 6 Musikstücke auf Station to Station sind durchgängig großflächig angelegt und beinhalten lange instrumentale Passagen. Das gesamte Album bedient sich einer Haupteigenschaft afroamerikanischer Musik: Es lässt sich Zeit und erzeugt Schwingungen durch Wiederholung. Die daraus resultierende Wirkung ist, dass Station to Station sich nicht nur an die Ohren, sondern an den ganzen Körper des Zuhörers wendet.
(Wikipedia)
User Album Review
After what Bowie labelled “plastic soul,” on Young Americans, it was more a case of lost soul for 1976’s Station to Station. The desperately thin, paranoid Bowie was still living in America but casting anxious, glassy-eyed looks across the Atlantic to European salvation – principally the musical and spiritual regeneration of Berlin.
Conflicting reports claim the album was either recorded before or after filming The Man Who Fell to Earth in New Mexico, but either way both album and film feature heavy themes of alienation, loss of control, madness and addiction (in his alien character’s case, alcohol; in Bowie’s, cocaine). Musically, it’s similarly intense, even more so because Bowie claims he can’t remember making it. It’s also one of his greatest records, bridging the stations of US R&B and krautrock – a sound bleached of blues but rooted in the motorik rhythm of Neu! and Kraftwerk – and of its six track, four are certified tour de forces.
The ten-minute title-track is first. A train gathering speed whizzes from speaker to speaker before a slow, clanking instrumental incline toward Bowie’s (ever-deeper) vocal intro, and his most dramatic lyrical entrance: “The return of the thin white duke / throwing darts in lover’s eyes.” The Duke – Bowie’s last distinct character – resembles a Nietzsche superman obsessed with belief – Judaism, Christianity, the occult – and totally off the rails: “It’s not the side effect of the cocaine, I’m thinking that it must be love.” The second section is a gallop, Earl Slick’s snarling solo unfurling over Roy Bittan’s barrelhouse piano.
The elegiac aftermath Golden Years distils and bakes Young Americans’ finger-snapping soul-funk canon; TVC15 is the other pop nugget, a more jovial saga of (according to Bowie) a girl in love with her TV. In between, Word on a Wing is a simmering plea for help to an angel but it’s outdone for gorgeous, fearless melodrama by Wild is the Wind (the title-track of a 1957 film, made famous by Nina Simone) as the Duke/Bowie hits an emotional all-time low. Stay is equally desperate, but the music is an all-time Bowie high, watertight rock-funk behind more naked confessionals from the man usually behind a mask.
The five-CD Super Deluxe Edition features additional album mixes and single versions, but the three-disc Special Edition is the essential purchase, involving the twofer Nassau Coliseum concert, aka the Thin White Duke bootleg, where Station cuts come to life and old classics are either invigorated (a rampant The Jean Genie, an awesome Five Years) or badly clobbered (especially Suffragette City and Queen Bitch). The band couldn’t truly rock, but then Bowie wasn’t interested in rock; he was rolling toward another sound and vision, the Berlin trilogy.
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User Comments
Available in:
Station to Station ist ein Studioalbum von David Bowie, das im Januar 1976 erschien. Bowie gelingt hier eine Mischung aus amerikanischer Rhythmik und westeuropäischen Harmonien und legt sich für diese Schaffensphase ein Alter Ego zu, den Thin White Duke, eine schattenhafte Figur, die von Amerika nach Europa zurückkehrt, um ihre Wurzeln zu erkunden.
David Bowie betont in den Interviews dieser Zeit, dass er mit der Single Fame 1975 und deren Nummer-1-Platzierung in den US-Charts alles erreicht habe, was er wollte. Nun möchte er endlich das machen, wozu er Lust habe. Diese Aussage trifft stilistisch bereits auf Station to Station zu, wo Soul- und Funkeinflüsse der vorangegangenen Schallplattenproduktion Young Americans, aber auch erste akustische Hinweise auf seine kommende Schaffensphase mit elektronischen Instrumenten zu finden sind.
Die 6 Musikstücke auf Station to Station sind durchgängig großflächig angelegt und beinhalten lange instrumentale Passagen. Das gesamte Album bedient sich einer Haupteigenschaft afroamerikanischer Musik: Es lässt sich Zeit und erzeugt Schwingungen durch Wiederholung. Die daraus resultierende Wirkung ist, dass Station to Station sich nicht nur an die Ohren, sondern an den ganzen Körper des Zuhörers wendet.
(Wikipedia)
User Album Review
After what Bowie labelled “plastic soul,” on Young Americans, it was more a case of lost soul for 1976’s Station to Station. The desperately thin, paranoid Bowie was still living in America but casting anxious, glassy-eyed looks across the Atlantic to European salvation – principally the musical and spiritual regeneration of Berlin.
Conflicting reports claim the album was either recorded before or after filming The Man Who Fell to Earth in New Mexico, but either way both album and film feature heavy themes of alienation, loss of control, madness and addiction (in his alien character’s case, alcohol; in Bowie’s, cocaine). Musically, it’s similarly intense, even more so because Bowie claims he can’t remember making it. It’s also one of his greatest records, bridging the stations of US R&B and krautrock – a sound bleached of blues but rooted in the motorik rhythm of Neu! and Kraftwerk – and of its six track, four are certified tour de forces.
The ten-minute title-track is first. A train gathering speed whizzes from speaker to speaker before a slow, clanking instrumental incline toward Bowie’s (ever-deeper) vocal intro, and his most dramatic lyrical entrance: “The return of the thin white duke / throwing darts in lover’s eyes.” The Duke – Bowie’s last distinct character – resembles a Nietzsche superman obsessed with belief – Judaism, Christianity, the occult – and totally off the rails: “It’s not the side effect of the cocaine, I’m thinking that it must be love.” The second section is a gallop, Earl Slick’s snarling solo unfurling over Roy Bittan’s barrelhouse piano.
The elegiac aftermath Golden Years distils and bakes Young Americans’ finger-snapping soul-funk canon; TVC15 is the other pop nugget, a more jovial saga of (according to Bowie) a girl in love with her TV. In between, Word on a Wing is a simmering plea for help to an angel but it’s outdone for gorgeous, fearless melodrama by Wild is the Wind (the title-track of a 1957 film, made famous by Nina Simone) as the Duke/Bowie hits an emotional all-time low. Stay is equally desperate, but the music is an all-time Bowie high, watertight rock-funk behind more naked confessionals from the man usually behind a mask.
The five-CD Super Deluxe Edition features additional album mixes and single versions, but the three-disc Special Edition is the essential purchase, involving the twofer Nassau Coliseum concert, aka the Thin White Duke bootleg, where Station cuts come to life and old classics are either invigorated (a rampant The Jean Genie, an awesome Five Years) or badly clobbered (especially Suffragette City and Queen Bitch). The band couldn’t truly rock, but then Bowie wasn’t interested in rock; he was rolling toward another sound and vision, the Berlin trilogy.
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