10 NEGLECTED GEMS FROM BOWIE’S ’80S

“CRYSTAL JAPAN”

(B-sidE Of “Up ThE hill BaCkwaRds”, 1981) Initially earmarked for Scary Monsters (And Super Creeps) but replaced by closer “It’s No Game (No 2)”, this track was actually released as a single in Japan in 1980. a comely instrumental , it was a throwback to the ambient moods of Low and “Heroes”.

“CAT PEOPLE (PUTTING OUT FIRE)”

(siNglE, 1982)

co-written with legendary producer Giorgio moroder, the original version of the song (with its sinister synthesisers and rushing chorus) is far superior to its Let’s Dance counterpart.

“THE DROWNED GIRL”

(“Baal” Ep, 1982) the most affecting brecht/Weill track that bowie covered for the bbc’s dramatic adaptation of

Baal finds him plucking doleful guitar over a spectral arrangement.

“RICOCHET”

(Let’s Dance, 1983) bowie later regretted that “it didn’t roll the way it should have”, but this oddly metred swinger is a fine synthesis of art rock and r&b.

“THIS IS NOT AMERICA”

(siNglE, 1985) a subtle, sophisticated gem with a luxurious vocal, recorded with the Pat metheny Group for the soundtrack of The Falcon And The Snowman.

IGGY POP

“SHADES” (Blah-Blah-Blah, 1986)

the best of bowie’s six co-contributions to Pop’s comeback album, “Shades” has a brooding, wistful quality enhanced by Pop’s rich baritone.

“WHEN THE WIND BLOWS”

(siNglE, 1986) Lifted from the soundtrack of the animated film of the same name, bowie and co-writer erdal kizilcay unpack a delicious melody in a sad plea for survival.

“ZEROES”

(NEVER lET ME dOwN, 1987) Indebted to the beatles and “every ’60s cliché I could think of”, and with a sly reference to Prince, bowie examines the effects of superstardom.

“GIRLS”

(“TiME will CRawl” B-sidE, 1987) a co-write with erdal kizilcay, “Girls” was first recorded by tina turner on her Break Every Rule LP. bowie apparently intended a Jaques brel-style chanson; enjoy its warm, swooping “Wild Is the Wind” charm.

TIN MACHINE

“I CAN’T READ” (TiN MaChiNE, 1989) It’s tempting to view this track – tin machine’s best – as bowie’s comment on his own artistic failings in the ’80s. Full of mood and darkness, with bowie repeating the phrase “I just

can’t get it right” over a spare, metallic soundtrack.