�ALL SAINTS�
(16-track compilation album of instrumentals/ 2001/ EMI)
I just hope Bowie doesn�t do a Meatloaf on us and start releasing a compilation of his Greatest Hits on an annual basis, given his latest double-CD compilation of classics on the back of a couple of other �best of� releases a few years ago.
And then there�s this compilation of some of the laughing gnome�s instrumentals, some of which are hard-listening compared to the alternative pop-rock songs we are used to.
Straight off, the finest track - �A Career In A New Town� - opens this album, and from then on in the levels to which the tracks are experimental soar, though Weeping Wall�s music-box wonderment, Art Decade�s decent tune and Crystal Japan are stunning offerings, the latter being subtly rousing and orchestrally majestic.
The large bulk of these instrumentals are swiped off David�s oppressive �Low� and �Heroes� albums which saw him testing new waters in his career at their time of release, and are 2 albums that the critics seemed to find difficult to accept. But those albums, as with every Bowie release, are hugely important and have been hugely-influential.
The �Low� instrumentals are more tuneful than the �Heroes� tasters, and �Career In A New Town� captures the perfect, Ultravox-immortalised sound of synths in a magically melodic guise. Likewise Low�s �Warsawza� benefits from hints of melody.
Unfaltering melodies make for unforgettable music, so pity Heroes� �Sense Of Doubt� which sounds so simple I bet anyone could wang out such sounds given a keyboard and an insight into the rules and regulations of pitch-bending. �Moss Garden� is equally as sombre, although guitar snatches perk it up.
Elsewhere there are some interesting ideas and sonic wizardry in The Mysteries� soft piano tit-bit tinkles that trickle over a post-futuristic, Bladerunner-esque soundscape, while Subterraneans� hypnotic quality is cleverly borne out of the illogic progression that the bass and synths within pursue.
So while the pace or immediate impact of the tracks never recover after the genius and sheer exuberance of the very first track, this collection shouldn�t be dismissed. Drama, emotion and mean moods toil in abundance throughout� they just take some finding.
Thus - all things considered - this balmy Bowie serving is still a compulsive work of art in every respect.
(STEVE RUDD)
www.davidbowie.com