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69 of 80 people found the following review helpful:
5.0 out of 5 stars
Reflection on Ziggy, November 15, 2003
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Before this album, Bowie was only somewhat of a ridiculous character. You heard him telling everyone `I'm going to be huge!', you may have even seen photos of him making out with Mick Jagger...but you probably never heard any of his music. Then, what Bowie seems to have done with Ziggy, is take that part of himself that he knew was absolutely ridiculous-exaggerate to such an obscene extent-and then make it appear authentic. If anyone has ever heard Bowie talk about this album, it is easy to get the impression that he is just as confused by it as we are. He certainly attributed quite a bit of the creative process that went into Ziggy to `the help of some chemical substances at the time.' Whether Bowie has any idea what he was doing is beside the point. The album rocks. Some say that no albums rocks more (Q (the magazine)), and everyone seems to concede that no album rocks in the same way. Each song has it's own style and charm, but also gracefully flows into the next. My favorite tracks are the first five, mostly because I prefer the softer ones, but when you want to rock, 'Suffragete City' takes you there. And what Bowie did with his alter ego Ziggy Stardust was brilliant. He presented the alien as becoming an established rock legend - making Bowie appear like one too, even though, then, he was the fledging artist. Later, Bowie would say that he so engrossed with his creation that he couldn't tell where Ziggy began and he stopped `He's a monster and I'm Dr Frankenstein. He's my brother, and God, I love him.' - Bowie (1976) Bono is to have said of Ziggy that he `was the nicest fella from Mars I ever met...' I think Bowie knew there is something Godlike about a rock star, about what such a person represents to his audience, some impression of superhuman ability, of control, power. He knew about the need confused, young, passionate people had to worship something/somebody, and he cultivated/exploited that need. Interesting Lyric: `Keep your mouth shut/Your squaking like a pink monkey bird!'
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18 of 18 people found the following review helpful:
5.0 out of 5 stars
Forget the "glam rock" label for this record, December 3, 1999
If "Ziggy" were Bowie's only release, his place in Rock's pantheon would still be assured. This album pretty much established Bowie as major artist in the U.S. Just a couple of observations; this album is unusually "Beatle-esque". Note the layered/textured harmonies, the insistent lead guitar (Mick Ronson's guitar style lends itself beautifully to this material), the almost omni-present acoustic rhythm guitar, and last but not least, the uncanny resemblance of "Five years" to John Lennon's "The dream is over" (Lennon and Bowie apparently were close friends - John is featured on "Fame"). I personally enjoy the many moods of this album; brooding - "Five Years", whimsy - "Starman"/"Moonage Daydream", defiance - "Suffragette City", urgency - "Hang on to yourself", this track being perhaps the least appreciated and most musically inventive of the CD, again beatle-esque, especially the chorus. Bowie's facility with melody still astonishes me after 25 years. If you need somewhere to start with Bowie, this has to be the place.
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16 of 17 people found the following review helpful:
5.0 out of 5 stars
David Bowie through the eyes of Ziggy Stardust, April 10, 2000
Or is it vice versa? This was Bowie's first concept album, which helped tell of the trials & tribulations that an extraterrestrial rock star has to go through. Bowie, being the prime example himself, did it perfectly with creativity and precision. The beautiful angst of "Five Years" starts it all off, where Ziggy's world slowly fades away into nothing. Next, we see him telling what he thinks love really is, hiding behind the pop music of "Soul Love". "Moonage Daydream" is the first alien rock song, mingling with a violent space-faced alien. "Starman" wonderfully expresses how humans wouldn't be able to accept something different, say a spiritual alien, into their society. "It Ain't Easy" and the mellow piano tune of "Lady Stardust" are further dwelling into not being accepted. "Star" and "Hang On To Yourself" showcase the gradual rise Ziggy's glam carreer, but then we see what happens when he starts to fall with "Ziggy Stardust". It's hard to tell what "Suffragette City" is about, but it is an awesome song. The final farewell of Ziggy concludes in the aptly titled "Rock N'Roll Suicide". Through it all, we hear raging electric guitar, acoustics, strings, and piano. Brilliant. Another congratualtion on behalf of Bowie.
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