eMusic Review 0
The final entry in the Berlin Trilogy boasts a picture of a beat-up Bowie on the cover and lyrical content that speaks to the same. RCA, Bowie’s label at the time, characterized it as “a concept album [about a] homeless wanderer, shunned and victimized by life’s pressures and technology.” That’s a bit high-minded, but not inaccurate: Lodger could be subtitled “Bodies and Motion, No Rest.” It opens with “Fantastic Voyage,” a weird, warped-number that pitches and groans and stops dead on a chorus that goes, “We’re learning to live with somebody’s depression.” Later, “Red Sails” tells of trouble lurking on the horizon, Bowie zig-zagging across the stave on the back of a strangled saxophone. Even the album’s best excuse for a pop single, “Boys Keep Swinging,” feels like the crowd-pleaser at a zombie disco.
Though Bowie and Eno’s creative partnership was fizzling (after Lodger‘s completion, they wouldn’t work together again for another 15 years), they still shore up a host of strange and suitably unsettling ideas. “Move On” contains a healthy helping of the Bowie-penned “All the Young Dudes” played backwards, “Boys Keep Swinging” duplicates the chord structure of “Fantastic Voyage,” but in a different meter, “African Night Flight” inverts the… read more »