Released on David Bowie’s 69th birthday, a couple days before his death, Blackstar marks the 25th studio album from one of the most popular musicians of all time. There is no space in a review like this to even attempt to tickle the depth of Bowie’s influence in modern music, nor could I even speculate how much the man will be missed. I’ll keep to the singular purpose of reviewing Blackstar.
Opening with the choral-like title with its spacey tinkles, off-beat snapping snare from Mark Guiliana and horn bleats, we get a swirling brew feeding about half way into this nine-minute opus. A more “regular” beat picks up at the four-and-half-minute mark, as we get a wash of upbeat synth, strings and Bowie delivering a vocal that evolves through a funky beat and jazzy horn touches from Donny McCaslin’s woodwinds.
“’Tis a Pity She Was a Whore” has got that snapping up-front snare again, but it’s more of a bed for woodwind soling from McCaslin then anything else, where the brilliant “Lazarus” is the obvious atmospheric masterstroke. This is where Bowie comments on his life, as in “everybody knows me now,” he’s in danger and has “nothing left to lose.” The music is desperate and foreboding, and it becomes apparent that Bowie was aware of the cancer that was killing him. This is a terribly prophetic song, built around a basic melody and riff.
“Sue (Or in a Season of Crime)” chunks along with Ben Monder’s feedbacking guitar and Bowie’s vocal, as strong as it is atonal, not quite fitting with all the noise behind it. “Girl Loves Me” is a little more upbeat, with its slinky beat and melody to hang your ear on. I am instantly reminded of Gary Numan, but then again I assume lots of what Numan sang he got from Bowie.“Dollar Days” has Jason Lindner’s piano leading the way on this dramatic ballad with a splashy beat. McCaslin is just about everywhere, playing off Bowie singing the refrain of, “I’m dying to, I’m trying to.” Like most of the tunes here, this one doesn’t go anywhere. It’s mostly Bowie exploring, stretching and exploiting soundscapes with his distinctive pipes.
“I Can’t Give Everything Away” ends the album. With a fat Tim Lefebvre bass, and high woodwind notes, it is the most mainstream track on the album. This is David Bowie at his seductive best, telling you right to your face he has to hold some of himself back, while making love to you with his voice. Yes, he is no longer of this earth, but then again was he ever really? Luckily we have so much music from this man, so much to go back and enjoy, remember and ruminate over. With Blackstar, we get the final word and something to ponder from a legend who had something to say until the very end.
~ Ralph Greco
