Reality
2 吉他谱
0 求谱
0 拨片
Reality专辑介绍
Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair — and if those two ingredients were key to the feeling and effect of that album, it's a credit to Bowie that he's found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works — layers of voices and guitars, sleek keyboards, coolly propulsive rhythms — and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his '70s work. If this isn't as indelible as anything he cut during that decade, that's merely the fate of mature work by veteran rockers. So, Reality doesn't have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It's a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come.
不管音乐潮流怎样变，David Bowie总能不负其「摇滚变色龙」的称号在节奏洪流中实验出新鲜的视听玩意，喜欢在概念题旨下构筑节奏空间的他这回只想好好的唱唱摇滚乐！2003年大碟「Reality」里，Bowie把探究真实世界的议题抛在一边，只想找回摇滚乐的本质，率真体现摇滚乐的真实感受。
从缔造包括"Space Oddity"、"Ashes To Ashes"、"Let’s Dance"在内的5首英国金榜冠军曲、20首英国金榜TOP 10单曲、8张英国金榜冠军专辑、16张英国TOP 10专辑、12张全美排行TOP 20专辑这些排行佳绩看来，足证这位在 1999年被NME票选为史上最具影响力的艺人其作品的商业成就的可观之处。在「Reality」中，Bowie再度与老战友Tony Visconti 携手共制，Visconti同时身兼键盘弹奏，Bowie身兼键盘吉他、萨克斯风弹奏。Bowie透过音乐脉动捕捉了目前定居这座城市的边缘性格与街头智慧，此外，由於此张新碟是在下曼哈顿地区录制，所以歌曲多少也映照着大苹果在经历911事件之後美丽与丑陋的感觉。 (KKBOX)
Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair — and if those two ingredients were key to the feeling and effect of that album, it's a credit to Bowie that he's found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works — layers of voices and guitars, sleek keyboards, coolly propulsive rhythms — and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his '70s work. If this isn't as indelible as anything he cut during that decade, that's merely the fate of mature work by veteran rockers. So, Reality doesn't have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It's a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come.