u/SubjectAd8317

Since I have been beckoned into (and trapped in) the Hinterland, it has been impossible for me to choose a second favourite. Yassassin remains the uncontested champ, but how would you all rank the songs in my tie for second place? These are the songs:

- Red Sails

- DJ

- Look Back In Anger

- Boys Keep Swinging

- Red Money

Try not to start any wars

I'm just gonna start by clarifying what I mean by "commercial Bowie". This indicates the time period from Let's Dance until, not including, Tin Machine. So, 1983-1988. I know everyone and their aunt trashes this time period as Bowie "selling out", but I don't buy into that narrative at all. The style changed, and some albums are undoubtedly more uneven than what came before, but I don't think the music ever reached the rock bottom many people (especially critics) describe. I will explain why I think this by giving examples of some of the moments in that period that stood out.

Modern Love (Let's Dance, 1983) - The first song on Let's Dance, the album that catapulted Bowie into global superstardom, and what he referred to as his "Phil Collins" years. This song may seem upbeat with the call-and-response chorus, backing vocals and energetic instrumentation. But if you look underneath all that, there's some unease. Questions about religion and belief ((Church on time) terrifies me / (Church on time) makes me party / (Church on time) Puts my trust in God and man / (God and man) no confessions / (God and man) no religion / (God and man) don't believe in modern love)). The production effectively masks this, meaning people could mistake it for a love song.

China Girl (Let's Dance, 1983) - This may seem like a bit of an odd inclusion, as it wasn't released by Bowie first. It was on Iggy Pop's album The Idiot, which Bowie largely co-wrote and produced. So, in this way, it could kind of count as Bowie covering himself. But I'm not mentioning it purely for that reason. The glossy production of the Bowie version makes it undeniably 80s, but the tension is still very much there. Even though, yet again, it's hidden beneath the polish. However, this is much less upbeat than Modern Love with its darker lyrics and instrumentation. The East Asian-inspired guitar and the "Oh oh oh oh little China girl" vocals may make it seem upbeat, but the rest of the lyrics have possessive and at times totalitarian undertones, such as "I'll ruin everything you are".

Ricochet (Let's Dance, 1983) - The fifth track on Let's Dance, and the only one which wasn't a single or a B-side in any territory. Which is a shame, because I think it's one of the best songs on the whole album. The atmosphere is tense and almost claustrophobic, with percussion and spoken-word passages creating a mood unlike anything else on the album. Bowie himself said he liked it but it didn't roll how he wanted it to. He was going to fix that on Serious Moonlight, but he unfortunately didn't. It definitely would've been huge live.

Loving the Alien (Tonight, 1984) - This song is the high point of the album which may be referred to by some as Let's Dance 2. Yet again, it is buried beneath heavy 80s production. But the lyrics are much more serious, a plea for interdenominational harmony (especially between Christians and Muslims). This is one of his most political and thoughtful songs of the time, a protest of sorts. That protest element makes it stand out even more than any of the songs I discussed from Let's Dance. The reference to Palestine (Thinking of a different time / Palestine, a modern problem) is something that it still relevant today.

Blue Jean (Tonight, 1984) - Many would dismiss this as merely a catchy pop single, but there is more to it than that. For one, the playful vocal performance adds character to a song that could otherwise feel much more conventional. Then there's the fabulous Jazzin' for Blue Jean, the short film that Bowie made to promote the single. In it, he plays both Vic, the awkward protagonist, and the self-absorbed rock star Screaming Lord Byron perfectly. These details show that, even in this period, his creativity didn't run dry.

Absolute Beginners (theme song for Absolute Beginners, 1986) - Even though it isn't on any official albums, I felt like I had to mention this. This is one case that doesn't require the "excessive production" comment. The production is lush, with immaculate vocal harmonies and an excellent saxophone solo. Even though this is the case, it still reached #2 in the UK Singles Chart, showing that artistic quality and commercial success aren't mutually exclusive. And it doesn't sound very 80s. This makes sense, as it was written as a theme for a movie set in late 1950s London. Despite presenting itself as a love song, it is also filled with uncertainty, insecurity and hope. It also boasts what may be some of Bowie's finest songwriting in his career, full stop.

Time Will Crawl (Never Let Me Down, 1987) - A song from Bowie's "worst" album still deserves to be mentioned. It has been cited widely as the album's high point, which is justified. The slightly mockney vocal performance contains a palpable urgency, which may come from the fact it was written soon after the Chernobyl incident. The second verse paints a picture of a society destroyed by nuclear fallout (I saw a black, black stream / full of white eyed fish / And a drowning man / with no eyes at all / I felt a warm, warm breeze / that melted metal and steel / I got a bad migraine that lasted three long years / And the pills that I took / made my fingers disappear). This feels like a resurfacing of the fragmented, cut-up style of storytelling he explored in the 1970s.

Honourable mention: Merry Christmas, Mr. Lawrence (directed by Nagisa Oshima, 1983) - I know this isn't a song, but it has to be noted. This was released when the Serious Moonlight Tour was in full swing, but it doesn't feel like he was trying to act like the superstar. His performance of Jack Celliers isn't superstarish in any way. It is restrained and understated, with a layer of emotional guardedness underneath. This role, for many reasons, is considered one of his best acting roles. This reinforces that all creativity was not lost during this period.

I'm just gonna end this by saying that I am in no way saying this era was perfect. It was anything but, and I recognise that.

Here is my version of the Connections game. This might be too easy, but I hope not.....

Describe this song in one sentence. I'll go first: induced anxiety on steroids