David Bowie: The Man Who Sold The World (1970)

Continuing our examination of Bowie, The Man Who Sold the World (1970) represents what some critics call the first true Bowie. While to me this reads as pure showmanship, I think perhaps it's important to recognize the musical significance of a new guitarist, but to say that out loud is to admit that I had to look to a Rolling Stone article to even notice.

The Man Who Sold the World is definitely a continued change, experimentation, and evolution of Bowie, but I believe, as we go through his and other band's discographies, that whether we like it or not from a critical perspective, every artist is always evolving. Perhaps that's unfair considering I haven't hit the backend of Weezer's discography yet, but we'll start with evolution as the primary thesis of these analyses.

Let's go, track by track, through Bowie's third strike, and in many ways, the one that would define his public persona more.

David Bowie: Space Oddity (1969)

Space Oddity (1969) is actually titled David Bowie, much like his first album. This is interesting because it goes to show the degree to which that first album from last week was relatively unheard. The first track, "Space Oddity" takes the title because it is without a doubt the standout track on the album. Even I had heard the song before even knowing that David Bowie was the mind behind it.

Beyond that this album features so much more jamming than the previous album did. Songs often last a minute longer than their run time, and Bowie isn't afraid to drop his lyrics and voice out to let the music carry the song.

So we will once again go track by track to examine not only the obvious masterpiece, but the evolution of Bowie's sound. Here the Beatles have fallen away and something more rock and folk has taken root.