Product Description
Hard To Find Original New Zealand Pressing Still In Nice Condition! Includes 4-Page Insert With Lyrics. Well Preserved For An LP That Is Almost 40 Years Old!
Featuring contributions from Pete Townshead, Robert Fripp, Roy Bittan and others, ‘Scary Monsters’ is an amazing album, which includes hit singles “Ashes to Ashes” and “Fashion”. Bowie achieved what biographer David Buckley called “the perfect balance”: as well as earning critical acclaim, the album peaked at #1 in the UK and restored David Bowie’s commercial standing in the US.
In 2000 Q magazine ranked Scary Monsters at #30 in its list of the 100 Greatest British Albums Ever. In 2002 Pitchfork Media placed it #93 in its Top 100 Albums of the 1980s. In 2012, ”Slant” Magazine listed the album at #27 on its list of “Best Albums of the 1980s”.
Condition – Vinyl: EXCELLENT! Couple of light surface marks. Plays well ~ sounds great!
Condition – Cover: VERY GOOD PLUS! Mostly excellent, small name rubbed out on front.
Side 1:
It’s No Game (Part 1)
Up The Hill Backwards
Scary Monsters (And Super Creeps)
Ashes To Ashes
Fashion
Side 2:
Teenage Wildlife
Scream Like A Baby
Kingdom Come
Because You’re Young
It’s No Game (Part 2)
AMG –
Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music... David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s.