David Bowie has always been an enigma to me. A brilliant, but arguably eccentric, sonic experimentalist. Some of his work I hate, some of it not so much, then there are releases like 1. Outside that make me think about his brilliance, ignoring all my ignorant misconceptions. Much like Shakespeare is dissected still to this day, Bowie's music will not only live on but will surely be studied, for context, by future generations.
The self-portrait cover art of 1. Outside is stunning and deserves to be held on vinyl as one enjoys this lengthy but sonically rewarding album. At present, I have to settle for the CD-quality TIDAL Hi-Fi edition and its counterpart streamed from Apple Music. While both are largely indistinguishable from each other, the atmospheric brilliance of Bowie, combined with Brian Eno’s talent, really shines on the lossless stream with a greater three-dimensional soundstage.
Leon Take Us Outside is an interesting musical and spoken word introduction that flows seamlessly into Outside, making me wonder why it’s a separate track at all.
Outside is an incredibly detailed track that is masterfully composed. The rhythm will connect with your soul, causing involuntary body movements. No, this isn't a song you'll likely sing-along to, but it is thoroughly enjoyable and is a fantastic way to commence the album.
The Hearts Filthy Lesson is a fantastic song. While there is a radio edit, available on the exceptional career perspective, Nothing Has Changed, I find myself drawn to the full length original as it is a more substantial version of the song.
A Small Plot Of Land has a near jazz-fusion introduction that I thoroughly enjoy. Although, A Small Plot Of Land loses its lustre for me when Bowie joins the mix as I don't feel his vocals on this track are a good mix with the musical style. However, A Small Plot Of Land would be sensational as a purely instrumental track.
(Segue) – Baby Grace [A Horrid Cassette] is musically interesting. I'm still not sold on the spoken word segue’s throughout, but this one grows on you.
Hallo Spaceboy is EPIC! You'll want to turn the volume up on this track. The Pet Shop Boys remix is featured on Nothing Has Changed, but to be completely frank, I hate it! It adds nothing to the original and makes the song sound weak. It’s amazing that the remix made the cut on Bowie's career perspective release as I believe the original release is incomparable and one of Bowie's greatest recordings.
The Motel is musically beautiful, although it takes close to half the duration of the song before coming into its own. Subsequently, I feel the introduction was a little too drawn out and the song could have evolved faster had the composition been reconsidered. Of course, my subjective opinion is rather irrelevant as it is a piece of Bowie’s sonic artwork and subsequently is created with his vision in mind.
I Have Not Been To Oxford Town has a sensational rhythmic undertone and Bowie's vocal delivery is perfectly suited to the musicality.
No Control is a solid, albeit a little disjointed, song with regards to the shifts in lyrical delivery. That said, I do find No Control to be rather compelling.
(Segue) – Algeria Touchshriek doesn't sonically work well with the album, but as a segue, one can forgive this aspect as the concept album must, by definition, tell a story that, at times, requires segueing.
The Voyeur Of Utter Destruction (As Beauty) is, from my perspective, a garbled mess.
(Segue) – Ramona A. Stone / I Am With Name doesn't add much to the album. It is more of a distraction than a beneficial addition. Of course, I’m less interested in the underlying story arc than I am the musicality of the album.
Wishful Beginnings, while an interesting composition, fails to excite.
We Prick You sounds more like an 80s tune than one composed in the 90s. It isn't bad, but it's a B-side.
(Segue) – Nathan Adler, Pt. 1 is, as many of these segues are, a distractive element to an otherwise free-flowing album.
I'm Deranged is meh!
Thru' These Architects Eyes is a B-side at best and one can't help but wonder, by this stage, when this album will end as there is considerable self-indulgent filler throughout.
(Segue) – Nathan Adler, Pt. 2 makes me question if any of these segues were really necessary. I'm honestly not sure they were.
Strangers When We Meet, as heard on 1. Outside is a re-recording of the song which was first released on Bowie's The Buddha Of Suburbia. I much prefer this re-recording as it is more aligned with Bowie’s vocal delivery and overall style. It’s also the perfect song to conclude 1. Outside on and encourages me to listen to the album again and stay within Bowie's catalogue.
Despite a few songs failing to impress, 1. Outside is a solid album from start to finish. Although, I don't feel I’m missing out by only having it in my streaming library and while I maintain an interest in holding the album artwork, the album itself, much like John Lennon and Yoko Ono's Double Fantasy, is a little too disjointed for me to appreciate on vinyl. Nevertheless, there are some exceptional Bowie songs to be heard here. Thankfully, a few of them are on my regularly spun Nothing Has Changed career perspective release.