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Track List
01) New Killer Star
01) Reality
02) Pablo Picasso
02) Funky President (People It's Bad)
03) Never Get Old
03) Further on Up the Road
04) The Loneliest Guy
04) Check Your Body
05) Looking for Water
05) Don't Fence Me In
06) She'll Drive the Big Car
06) All for One
07) Days
07) I'm Broken Hearted
08) Fall Dog Bombs the Moon
08) Twist
09) Try Some, Buy Some
09) Who Can I Turn To (When Nobody Needs Me)
10) Reality
11) Bring Me the Disco King
01) New Killer Star
01) Reality
02) Pablo Picasso
02) Funky President (People It's Bad)
03) Never Get Old
03) Further on Up the Road
04) The Loneliest Guy
04) Check Your Body
05) Looking for Water
05) Don't Fence Me In
06) She'll Drive the Big Car
06) All for One
07) Days
07) I'm Broken Hearted
08) Fall Dog Bombs the Moon
08) Twist
09) Try Some, Buy Some
09) Who Can I Turn To (When Nobody Needs Me)
10) Reality
11) Bring Me the Disco King
4:40
4:41
4:05
4:28
4:24
4:14
4:11
4:31
3:28
3:57
4:35
6:38
3:18
4:28
4:04
4:08
4:24
4:05
4:23
7:45
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
2003
Rock
Weird
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Reality is the 23rd studio album by English singer-songwriter David Bowie. It was released on 15 September 2003 on his ISO Records label, in conjunction with Columbia Records. Co-produced by Bowie and longtime collaborator Tony Visconti, it was recorded between January and May 2003 at Bowie's home studio and Looking Glass Studios in New York City and Mike Garson's home studio in California. A rock album, it was written mostly after production on Bowie's previous album Heathen wrapped up. It contains covers of the Modern Lovers' "Pablo Picasso" and George Harrison's "Try Some, Buy Some". The album has received positive reviews from music critics. He supported the album with the A Reality Tour throughout 2003 and 2004, his final concert tour. It was his last album of original material for ten years, until the release of The Next Day in 2013.
User Album Review
Each David Bowie album from Black Tie White Noise onwards has been greeted with a huge puff of publicity but very little aftertaste. This is as much our fault as his. In our long-established immediacy culture, unless you are repeatedly whacked around the head by something, it evaporates. The complex and distant music Bowie has produced over the past ten years often demands the one thing we don't have in abundance today: time. To underline the importance of his recent oeuvre, Bowie played Heathen in a block, as if to say; this is really special, bear with it.
With that in mind, I'm delighted to report that his 25th studio album, Reality is among his very best works, and this is being written not in the exhilarating judgement-numb of a long-in-advance copy. This is after living with it. Its rock music, for sure; it travels along similar lines to Heathen and Hours..., but it has a real freshness and accessibility and, in this era of ever-extending CDs, it's a proper album; clocking in at under 50 minutes.
Working with Tony Visconti again has certainly given energy to Bowie and working in Visconti's small studio in New York brings the work a real freshness and intimacy. With his regular players Sterling Campbell, Gail Ann Dorsey and Mike Garson; and with Visconti playing his economical and often underrated bass, there is a beautiful lustre to the sound which manages to embrace innovation in a most organic manner.
'New Killer Star', freely referencing his own 'TVC 15', is an effortless overture that plays to the highlights of the Visconti/Bowie partnership. 'She'll Drive A Big Car' is a perfect embodiment of Bowie's new spirit; full of subtle kinks and nuances which actually finds it recapping Young Americans in terms of that records emotional drive.
The backing vocals on 'Looking For Water' equal the strengths of the Berlin-era recordings and the strings-rich cover of 'Try Some, Buy Some' is a fitting tribute to its author, George Harrison. 'Fall Dog Bombs The Moon' is a fantastic voyage through Bowie's Burroughsian box of tricks and 'Bring Me The Disco King' first mentioned at the time of Black Tie White Noise is a extraordinary closer, its refrain evoking both Chic's 'Dance Dance Dance (Yowsah, Yowsah, Yowsah)' and Joy Divison's 'Transmission'; a woozy, off-kilter jazz homage, with long term Bowie pianist Garson referencing his best work.
So, Reality is a proper album, with a beginning, a middle and an end. It's direct, warm, emotional honest, even and the surfeit of pleasingly deceptive musical simplicity allows the irony of the central concept - that there is no such thing as reality anymore - an opportunity to filter through. It's also rather lively and convincing. With Earthling, its David Bowie's best album since Scary Monsters.
External Album Reviews
None...
User Comments
Available in:
Reality is the 23rd studio album by English singer-songwriter David Bowie. It was released on 15 September 2003 on his ISO Records label, in conjunction with Columbia Records. Co-produced by Bowie and longtime collaborator Tony Visconti, it was recorded between January and May 2003 at Bowie's home studio and Looking Glass Studios in New York City and Mike Garson's home studio in California. A rock album, it was written mostly after production on Bowie's previous album Heathen wrapped up. It contains covers of the Modern Lovers' "Pablo Picasso" and George Harrison's "Try Some, Buy Some". The album has received positive reviews from music critics. He supported the album with the A Reality Tour throughout 2003 and 2004, his final concert tour. It was his last album of original material for ten years, until the release of The Next Day in 2013.
User Album Review
Each David Bowie album from Black Tie White Noise onwards has been greeted with a huge puff of publicity but very little aftertaste. This is as much our fault as his. In our long-established immediacy culture, unless you are repeatedly whacked around the head by something, it evaporates. The complex and distant music Bowie has produced over the past ten years often demands the one thing we don't have in abundance today: time. To underline the importance of his recent oeuvre, Bowie played Heathen in a block, as if to say; this is really special, bear with it.
With that in mind, I'm delighted to report that his 25th studio album, Reality is among his very best works, and this is being written not in the exhilarating judgement-numb of a long-in-advance copy. This is after living with it. Its rock music, for sure; it travels along similar lines to Heathen and Hours..., but it has a real freshness and accessibility and, in this era of ever-extending CDs, it's a proper album; clocking in at under 50 minutes.
Working with Tony Visconti again has certainly given energy to Bowie and working in Visconti's small studio in New York brings the work a real freshness and intimacy. With his regular players Sterling Campbell, Gail Ann Dorsey and Mike Garson; and with Visconti playing his economical and often underrated bass, there is a beautiful lustre to the sound which manages to embrace innovation in a most organic manner.
'New Killer Star', freely referencing his own 'TVC 15', is an effortless overture that plays to the highlights of the Visconti/Bowie partnership. 'She'll Drive A Big Car' is a perfect embodiment of Bowie's new spirit; full of subtle kinks and nuances which actually finds it recapping Young Americans in terms of that records emotional drive.
The backing vocals on 'Looking For Water' equal the strengths of the Berlin-era recordings and the strings-rich cover of 'Try Some, Buy Some' is a fitting tribute to its author, George Harrison. 'Fall Dog Bombs The Moon' is a fantastic voyage through Bowie's Burroughsian box of tricks and 'Bring Me The Disco King' first mentioned at the time of Black Tie White Noise is a extraordinary closer, its refrain evoking both Chic's 'Dance Dance Dance (Yowsah, Yowsah, Yowsah)' and Joy Divison's 'Transmission'; a woozy, off-kilter jazz homage, with long term Bowie pianist Garson referencing his best work.
So, Reality is a proper album, with a beginning, a middle and an end. It's direct, warm, emotional honest, even and the surfeit of pleasingly deceptive musical simplicity allows the irony of the central concept - that there is no such thing as reality anymore - an opportunity to filter through. It's also rather lively and convincing. With Earthling, its David Bowie's best album since Scary Monsters.
External Album Reviews
None...
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