To switch up from my last column about 90s Alternative, I’ve decided to do a 180 and review a classic from the classic rock era (fittingly). Who better to encapsulate this era than the iconic David Bowie, a global rockstar of massive proportions. If you couldn’t tell by the previous sentence, Bowie is one of my favorite musicians ever; I own more Bowie records in my collection than records by any other artist (although this can be slightly attributed to how often Bowie’s representatives repress vinyl). So without further ado, let’s discuss Bowie’s classic 70s crown jewel, The Rise and Fall of Ziggy Stardust and – 

Ehhhhh maybe not. I and so many others have discussed this album so many times that while I still adore the album, I get a little tired of it being the sole discussion for Bowie’s discography. So instead, I decided to revisit Ziggy’s underrated American cousin, Aladdin Sane, a great record forever condemned to being in the shadows of its predecessor. 

I say American because, well, this album is considered to be “Ziggy goes to America” by Bowie’s fanbase. Here I can confirm that just as the U.K. is considered to be more rigid and uptight than the U.S., Aladdin Sane is a significantly messier album than Ziggy Stardust, not in terms of quality, but in terms of instrumentation and performance. Pianos return from their hibernation from Hunky Dory, but they are played much faster and wilder. Guitars are loud and dominate the vocals, especially on the first track “Watch that Man.” Subject matter goes beyond an alien rockstar and the world ending; now there are drugs, prostitution, war, and riots, all of which were either lightly touched upon or absent in Bowie’s previous work. These songs perfectly encapsulate the stereotypical gluttonous American lifestyle that Bowie was trying to translate into music. The standout tracks from the album for me are:

Watch that Man: This is the first track on the album, and it really is great as an opener because it shows how much more LOUD this record gets. This song, as well as subsequent tracks, are inspired heavily by the New York Dolls, an American glam-punk group, and “that man” is specifically the raucous lead singer David Johansen.

Aladdin Sane: This song is a play on the words “a lad insane”, which Bowie considers anyone who would willingly sign up for war (this album was recorded a few months before the last U.S. troops departed Vietnam). Instrumentally, it’s a bit mellower than “Watch that Man”, but it’s outright ridiculous piano solo makes up for any accusations of him toning down the music.

Panic in Detroit: Inspired by Michigan native Iggy Pop’s story of the 1967 Detroit Riots, this song tells the story of a young impressionable man who seeks the autograph of a revolutionary participating in the uprising. At the end, the autograph is revealed to be a suicide note. Not exactly a track that would end up on Hunky Dory.

Time: Probably the most depressing song (apart from maybe Lady Grinning Soul), this song looks directly down the barrel of mortality to the tune of an old-timey cabaret piano. The accidental overdose of the New York Dolls’ drummer, Billy Murcia, inspired this.

The Jean Genie: How do you discuss Aladdin Sane without mentioning the Jean Genie, one of Bowie’s most intriguing cuts in his discography? This song is probably about Iggy Pop and his rebellious nature set to a bluesy riff akin to “Roadhouse Blues” by the Doors. There’s also a hint of gay themes in this song, and so many of these lyrics make the listener wonder how this ever got past the censors.

So does Aladdin Sane hold up today? I would say a light yes, even if it gets overshadowed by the masterpiece that precedes it. It is absolutely “of its time” with its instrumentation and its inability to actually outright say its more risque themes, but regardless, it’s still really great music. The seeds of punk lie in this album, so if you are a fan of proto-punk, glam rock, or any classic rock, this album is right up your alley.