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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
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
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Medium
Album
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0 copies
Album Description
Available in:
Paru en 1976 chez RCA Records, Station to Station constitue le dixième album studio de David Bowie et l'un des sommets les plus significatifs de sa discographie.
Enregistré dans une période de dépendance extrême aux drogues — Bowie affirmant ne garder aucun souvenir de la production — l'opus voit naître le personnage du « Thin White Duke ». Visuellement marqué par une image issue du tournage de L'Homme qui venait d'ailleurs de Nicolas Roeg, le disque sert de pont stylistique entre le soul-funk de Young Americans et les expérimentations électroniques qui définiront la trilogie berlinoise à venir.
Influencé par le krautrock allemand (Kraftwerk, Neu!), Bowie y insuffle des structures motorik tout en explorant des thématiques ésotériques, nietzschéennes et religieuses.
Entre l'accessibilité du single « Golden Years » et l'hermétisme de ses plages musicales, l'album s'est imposé dans le Top 5 des charts britanniques et américains, avant d'être consacré en 2003 par Rolling Stone comme l'un des 500 plus grands albums de tous les temps. C'est, selon l'aveu même de l'artiste, son « appel pour revenir en Europe ».
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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Paru en 1976 chez RCA Records, Station to Station constitue le dixième album studio de David Bowie et l'un des sommets les plus significatifs de sa discographie.
Enregistré dans une période de dépendance extrême aux drogues — Bowie affirmant ne garder aucun souvenir de la production — l'opus voit naître le personnage du « Thin White Duke ». Visuellement marqué par une image issue du tournage de L'Homme qui venait d'ailleurs de Nicolas Roeg, le disque sert de pont stylistique entre le soul-funk de Young Americans et les expérimentations électroniques qui définiront la trilogie berlinoise à venir.
Influencé par le krautrock allemand (Kraftwerk, Neu!), Bowie y insuffle des structures motorik tout en explorant des thématiques ésotériques, nietzschéennes et religieuses.
Entre l'accessibilité du single « Golden Years » et l'hermétisme de ses plages musicales, l'album s'est imposé dans le Top 5 des charts britanniques et américains, avant d'être consacré en 2003 par Rolling Stone comme l'un des 500 plus grands albums de tous les temps. C'est, selon l'aveu même de l'artiste, son « appel pour revenir en Europe ».
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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