# xmcd
#
# Track frame offsets: 
#        182
#        13532
#        26882
#        41957
#        60932
#        77957
#        96107
#        110357
#        125357
#        138932
#        158432
#        176132
#
# Disc length: 2766 seconds
#
# Revision: 4
# Processed by: cddbd v1.5.1PL2 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=950acc0c
DTITLE=David Bowie / Lodger
DYEAR=1979
DGENRE=Rock
TTITLE0=Fantastic Voyage
TTITLE1=African Night Flight
TTITLE2=Move On
TTITLE3=Yassassin (Turkish For: Long Live)
TTITLE4=Red Sails
TTITLE5=D.J.
TTITLE6=Look Back In Anger
TTITLE7=Boys Keep Swinging
TTITLE8=Repetition
TTITLE9=Red Money
TTITLE10=I Pray, Ol (Previously Unissued Track Recorded 1979)
TTITLE11=Look Back In Anger (New Version Recorded 1988)
EXTD=Originally Released 1979\nRykodisc CD Edition Released August 19,
EXTD= 1991\nVirgin Remastered CD Edition Released September 28, 1999\n
EXTD=\nAMG EXPERT REVIEW: On the surface, Lodger is the most accessibl
EXTD=e of the three Berlin-era records David Bowie made with Brian Eno
EXTD=, simply because there are no instrumentals and there are a handf
EXTD=ul of concise pop songs. Nevertheless, Lodger is still gnarled an
EXTD=d twisted avant pop; what makes it different is how it incorporat
EXTD=es such experimental tendencies into genuine songs, something tha
EXTD=t Low and Heroes purposely avoided. "D.J.," "Look Back in Anger,"
EXTD= and "Boys Keep Swinging" have strong melodic hooks that are subv
EXTD=erted and strengthened by the layered, dissonant productions, whi
EXTD=le the remainder of the record is divided between similarly effec
EXTD=tive avant pop and ambient instrumentals. Lodger has an edgier, m
EXTD=ore minimalistic bent than its two predecessors, which makes it m
EXTD=ore accessible for rock fans, as well as giving it a more immedia
EXTD=te, emotional impact. It might not stretch the boundaries of rock
EXTD= like Low and Heroes, but it arguably utilizes those ideas in a m
EXTD=ore effective fashion. -- Stephen Thomas Erlewine\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nDisjointed, but hip, April 23, 1999\nReviewer: A 
EXTD=music fan\nBowie's "DJ" is the stunner on this one. Bowie, as you
EXTD= may recall, was one of the first artists to perform on video, pr
EXTD=e-MTV days. Bowie is portrayed as a DJ thrashing about, tearing u
EXTD=p his studio. "I've got believers, believing me," rings throughou
EXTD=t. "Fantastic Voyage" could be heard playing in Hollywood theater
EXTD=s before movie showings back in 1979. "I Pray Ole" is not on the 
EXTD=original album. "Boys Keep Swinging" was popular in L.A., and a r
EXTD=emake by Susanna Hoffs was recently produced for a tribute album 
EXTD=to Bowie. "Look Back in Anger" is passionate and evokes images of
EXTD= angels and "If God was one of us" video imagery. The incredibly 
EXTD=fast-paced "African Night Flight" is a bit unidentifiable for mos
EXTD=t of us earthlings, but Bowie must have travelled for this one. "
EXTD=Repetition" is a sad account of an abused wife. "Red Sails" has a
EXTD= cool surf-time beat interspersed with Bowiespeak: "fa-fa-fa-fa-f
EXTD=a, fa-fa-far away," and a broken up, "one-two" and then "three-fo
EXTD=ur." Bowie's voice is broken up, and yet, it flows with the melod
EXTD=y. Sounded very experimental for circa 1979, and today. Red Sails
EXTD= gives images of a boy sailing and blue skies and we're not sure 
EXTD=what happens after that.\n\nAMAZON.COM CUSTOMER REVIEW\nThe weake
EXTD=st of the Bowie/Eno collaboration, but still superb., March 10, 2
EXTD=006\nReviewer: Michael Stack (Watertown, MA USA)\n"Lodger" is the
EXTD= third and final collaboration between David Bowie and Brian Eno 
EXTD=in the 1970s. Recorded two years after the landmark "Low" and "He
EXTD=roes" albums, "Lodger" does not quite live up to the legacy the p
EXTD=revious two albums allowed for it, as though taking time out of t
EXTD=he studio to tour somehow derailed the Bowie/Eno partnership a bi
EXTD=t. Having stated that, had this is a great album. \n\nI think per
EXTD=haps my reason for feeling this way is that while "Low" and "Hero
EXTD=es" were mapping out new territory, "Lodger" tends to mine on tho
EXTD=se successes and embraces the burgeoning New Wave sounds that Eno
EXTD= and Bowie previously anticipated. Mind you, when it's good, it's
EXTD= fantastic-- the proto-industrial "African Night Flight" is built
EXTD= around essentially the sound of crickets and electronic noises w
EXTD=ith Bowie frantically speaking out the lyrics as though there's t
EXTD=oo many words to get out, "Yaassassin", featuring a superb violin
EXTD= performance by Simon House mixes a Middle Eastern organ line wit
EXTD=h reggae (or perhaps Police-like?) guitars for an unusually natur
EXTD=al sounding blend, "Look Back in Anger" finds Bowie at his most p
EXTD=assionate and explosive over a new wave backdrop and a decidingly
EXTD= Enoesque arrangement of frantic rhythms and instruments waxing a
EXTD=nd waning in prominence and the pounding rhythms of "Boys Keep Sw
EXTD=inging" nicely offset the total goofiness of the lyrics (and guit
EXTD=arist Adrian Belew is unbelievable in his solo channeling all sor
EXTD=ts of noise). Along the way, Bowie provides a couple features for
EXTD= Belew on guitar, who eats up "Red Sails" and "D.J." with his fie
EXTD=rce and highly original guitar lines. \n\nStill, the record has i
EXTD=ts weak moments-- "African Night Flights" is a bizarrely bright a
EXTD=nd somewhat dull piece, "Move On" has a fine galloping beat but m
EXTD=isses altogether and even Belew's pyrotechnics don't save "Red Sa
EXTD=ils". \n\nI suppose it's all small complaints though, the good in
EXTD= the album far outweighs the less than good, and I realize my ini
EXTD=tial assessment was pretty harsh. This is a good album, and for m
EXTD=any other artists, it would be the best thing in their catalog.\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nNot Bowie's best by any stretch, Ma
EXTD=rch 8, 2006\nReviewer: W. Thornton (St. Augustine Beach, Florida 
EXTD=USA)\nIt is very hard to sum up Lodger. Most people try and categ
EXTD=orize it as part of a `Berlin Trilogy' with Low and "Heroes." The
EXTD= truth is that Lodger is far removed from the brilliance and pass
EXTD=ion of those two. The creativity that defined the previous three 
EXTD=studio albums is sorely missing on Lodger. The main disappointmen
EXTD=t is that there is so little conviction in the performances. The 
EXTD=album just feels totally disjointed. Listening to Lodger today, i
EXTD=t has simply not aged well at all. \n\nThe songs on the first sid
EXTD=e (Fantastic Voyage, African Night Flight, Move On, Yassassin and
EXTD= Red Sail) are all yawners with bizarre syncopations that feel de
EXTD=pressingly drunk. The second side is only slightly better with D.
EXTD=J. and Look Back in Anger being the only real highlights. On Lodg
EXTD=er, Adrian Belew takes over on guitar. He is simply given very li
EXTD=ttle opportunity that Fripp had on "Heroes." The arrangements on 
EXTD=most of the songs do little to showcase his talent. A much better
EXTD= representation of his dynamic talent can be found on the live St
EXTD=age CD. \n\nIn summary, Lodger is Bowie's castration album. His g
EXTD=ender confusion has never been more extreme. I find the cover and
EXTD= liner fairly sick to look at. Many of the songs sound like false
EXTD=tto and are simply too high even for his broad range. Boys Keep S
EXTD=winging is his anthem to the alternative lifestyle that he must h
EXTD=ave at least toyed with. An interesting side note is the opening 
EXTD=to D.J. which sounds strangely like David Byrne. Coming off of th
EXTD=e peaks of Low, "Heroes" and Stage, Lodger is such a disappointme
EXTD=nt. Fortunately, he corrects most of the defects in Lodger on 198
EXTD=0's release of Scary Monsters. \n\nTake Lodger for what it is: Bo
EXTD=wie's farewell to the 70's, Brian Eno, Berlin and pretty much his
EXTD= better days as an artist. \n\nAMAZON.COM CUSTOMER REVIEW\nArguab
EXTD=ly Bowie's Best, November 4, 2005\nReviewer: Thomas D. Ryan "Amer
EXTD=ican Hit Network" (New York)\nWith a career as varied as Bowie's,
EXTD= it is all but impossible to pick a favorite album, especially si
EXTD=nce he's assumed so many guises and toyed with his sound as much 
EXTD=as his image. If you are talking about social impact, Ziggy Stard
EXTD=ust would be the likely winner. If you're talking about scraunchi
EXTD=ng rock and roll performed with an attitude that transcends mere 
EXTD=mortals, then Aladdin Sane might cop the prize. For inventiveness
EXTD=, Low could win. It all depends what you are looking for, but if 
EXTD=it is possible to judge Bowie's work objectively (a ridiculous th
EXTD=ought, actually) then what album contains the best of all his vir
EXTD=tues? Probably Lodger. \n\nLodger hits upon so many touchstones t
EXTD=hat it is practically impossible to categorize, even for Bowie. E
EXTD=verything that it does, it does with elan. World music, atmospher
EXTD=ics, driving rock and roll, pensive ballads, phenomenal musicians
EXTD=hip and stunning lyrics flow from this album with such grace and 
EXTD=ease that it is almost easy to overlook just how creative it all 
EXTD=is, especially as a package. The `hits' are among Bowie's best, f
EXTD=rom the smarmy, sarcastic 1-2 punch of "D.J." to the tongue-in-ch
EXTD=eek mannerisms of "Boys Keep Swinging," they are flawless in thei
EXTD=r execution. Adrian Belew's guitar work on the latter song is so 
EXTD=over-the-top loony that it inspires fits of laughter and admirati
EXTD=on. \n\nBowie's palette is so broad on Lodger that it overwhelms.
EXTD= It is hard to fathom what sort of imagination could conjure the 
EXTD=stream of consciousness reverie of "African Night Flight" as well
EXTD= as the dream-state playfulness of "Red Sails", only to accuratel
EXTD=y capture the mental state of a frustrated wife-beater with "Repe
EXTD=tition" and reflections on mortality suggested by the beautiful "
EXTD=Fantastic Voyage." Throw in a Turkish-inspired melody ("Yassassin
EXTD=") and what might be one of his hardest-rocking songs ever ("Look
EXTD= Back in Anger") and you've got a full-blown masterpiece. This po
EXTD=int is only driven home by the fact that it sounds just as futuri
EXTD=stic/contemporary today as it did in 1979. If Bowie is a genius, 
EXTD=then the evidence lies herein. A+ Tom Ryan \n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nThe underdog of the Berlin triology...., June 3, 2005\n
EXTD=Reviewer: squarehawk2 "squarehawk2" (usa)\n...makes this release 
EXTD=all the more interesting. \n\nDavid Bowie was coming to a crossro
EXTD=ad w/ Brian Eno. Bowie felt he had to take some control back of h
EXTD=is own work which starts to show as Eno's presence isn't that pre
EXTD=dominant as on the past 2 releases prior. Gone from the album are
EXTD= ambient workouts like "Moss Garden" and "Art Decade". Instead th
EXTD=e work showed a greater interest in twisting strange atmospheres 
EXTD=into pop songs which would foreshadow the best parts of New Wave,
EXTD= as well as touching upon the post-punk movement that was running
EXTD= along the side of it at the same time. \n\nThe opener "Fantastic
EXTD= Voyage" is excellent, almost an overture to the rest of the LP, 
EXTD=acting like an updated song from "Three Penny Opera". A cousin to
EXTD= "5 Years". "African Night Flight" has often been sited as bizarr
EXTD=e but its one of the best tracks on Lodger (if not in his career)
EXTD= that puts an agressive view to world music, just like the Talkin
EXTD=g Heads would do in Remain In Light a year later. The rest of the
EXTD= songs travel in and out foreign lands, haphazzard fashions, regr
EXTD=et and sexual politics (of being a boy and abuse). "Repetition" i
EXTD=s one of the most point blank views on marital abuse ever (which 
EXTD=was later cover by the feminist punkers The Au Pairs). The voyage
EXTD= ends on a sour prediction about the decade greed that was to com
EXTD=e our way in the 1980s ("Red Money"). \n\nOf course, the record c
EXTD=ompany robs us of "I Pray, Ole" in this remastered reissue. But n
EXTD=oticing the current rate of the anniversary packaged albums being
EXTD= produced maybe we'll see something (however I wouldn't hold my b
EXTD=reath). \n\nI understand why many wouldn't think this is Bowie's 
EXTD=best work, especially looking at his whole career. But for some r
EXTD=eason every time I listen to it I feel that it is my favorite one
EXTD=. \n\nAMAZON.COM CUSTOMER REVIEW\nBowie Business as Usual, Septem
EXTD=ber 15, 2004\nReviewer: Omer Belsky (Haifa, Israel)\nThe 1970s sa
EXTD=w David Bowie in one of the most extraordinary peaks of creativit
EXTD=y ever achieved by any Rock'n'Roll artist. Whole albums, such as 
EXTD=Ziggy Stardust and Station to Station are perfect from the first 
EXTD=moment to the last. Other masterpieces, though flawed, contain su
EXTD=ch an overload of brilliance that it overshadows whatever weak tr
EXTD=ack exist on the albums ('Hunky Dory' is a perfect example for th
EXTD=at). \n\nLodger, in a sense, is different in the sense that it fo
EXTD=reshadows most of Bowie's later albums: it's a mixed bag. At time
EXTD=s experimental ('Red Money'), Anthemic ('DJ'), silly ('Yassassin'
EXTD=), and sometimes just utterly brilliant ('Boys Keep Swinging' and
EXTD= 'Look Back in Anger') - Lodger is as good a candidate for a 'typ
EXTD=ical' Bowie album as it gets. \n\nThe weaker tracks, such as 'Yas
EXTD=sassin' and 'African Night Flight' are not so much bad as miscalc
EXTD=ulated - Bowie's rock music talents gone wrong. Some tracks, such
EXTD= as opener 'Fantastic Voyage' and 'Move On' are solid rock tracks
EXTD=, not spectacular but with interesting lyrics ('I'll never say an
EXTD=ything nice again' Bowie mysteriously declares on 'Voyage'). \n\n
EXTD=The two highlights are the majestic, dark and hard rockin' "Look 
EXTD=Back in Anger", which has been a frequent show opener for Bowie. 
EXTD=With rifts that anticipate the leaner, meaner sound of "Scary Mon
EXTD=sters", "Look Back in Anger", as opaque as it may appear (the vid
EXTD=eo suggests an allusion to a deformed artist, and maybe to Oscar 
EXTD=Wilde's 'The Picture of Durian Grey'), it's a deserved classic. \n
EXTD=\nRarely played live, "Boys Keep Swinging" an ironic tribute to y
EXTD=outh and masculinity. It seems like a stylistic throw back to the
EXTD= 1950s or even 30s, but the music is patently Bowie, with a hard 
EXTD=beat beneath the pretty melody. It's yet another classic. \n\nFor
EXTD= most artists, Lodger would have been a career highlight. Only in
EXTD= comparison to Bowie's remarkable career can an album as strong a
EXTD=s this one seem so mundane. \n\nAMAZON.COM CUSTOMER REVIEW\nAroun
EXTD=d the world and into my brain forever, June 9, 2003\nReviewer: A 
EXTD=music fan\nThis album definitely merits more study by people who 
EXTD=find it dull. There is no Bowie album which is more art-referenti
EXTD=al than "Lodger," and a cursory listing of its musical attributes
EXTD= only tells half the story. I've often kept the cover art for the
EXTD= vinyl version on my wall since it was released. It's a unique wo
EXTD=rk of art and never ceases to inspire me.\nUnfortunately, many of
EXTD= the graphic elements that made the cover and inner sleeve such a
EXTD= perfect pop koan have not been reproduced in CD form, an omissio
EXTD=n which is sadly true for virtually all of his CD reissues. \n\nT
EXTD=he strange enigma of a cover is a reference to the dadaist Franci
EXTD=s Picabia's "Portrait of Cezanne," as well as to Bowie's gatefold
EXTD= image in "Aladdin Sane." Like that album, "Lodger" takes us on a
EXTD= whirlwind tour of landscapes that may or may not exist, but in a
EXTD=n inner terrain enabled by Jungian symbolism and dadaist vitriol.
EXTD= It adds up to a form of synthetic modernism that is absolutely u
EXTD=nique among Bowie records. \n\nTo say that "Lodger" is weak on an
EXTD=y level is really to underestimate Bowie's perspective on the fut
EXTD=ure and his own past, to overlook the fact that before Talking He
EXTD=ads, Peter Gabriel, Malcolm McLaren or Paul Simon did their own t
EXTD=ake on the issue, Bowie was looking to the very foundations of ro
EXTD=ck to trace the evolution of modern Western consciousness. "Lodge
EXTD=r" creates its own language of simulationism which remains unprec
EXTD=edented in pop music. This album is ABSOLUTE genius folks!\n\nSin
EXTD=ce when is ennui NOT a proper subject for art? I seriously discou
EXTD=nt the idea that the song "Fantastic Voyage" refers to anything b
EXTD=esides Bowie's depression. It's a worthy introduction to a treati
EXTD=se on cultural colonialism (revived in the video for "China Girl"
EXTD= as well as the visual theme for his "Serious Moonlight Tour." "L
EXTD=odger" also contains Bowie's first major use of angel symbolism, 
EXTD=a theme he beat to death in later years.)\n\nIn short, in the Sev
EXTD=enties, Bowie was more than a musical figure, he was a cultural p
EXTD=rophet, and "Lodger" finds him poised as a lonely scout for the h
EXTD=uman tribe. His art then was as much visual as it was musical, an
EXTD=d in the entirety of this album are artfully conceived, enigmatic
EXTD= mysteries that have kept me fascinated for nearly 25 years.\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nBowie's 70s Journey at an End, Februar
EXTD=y 21, 2002\nReviewer: G. YEO "gyeo" (Singapore)\nBowie was never 
EXTD=dull in the seventies. Lodger isn't boring in terms of analysing 
EXTD=Bowie's wonderful career, but it's sandwiched in between better a
EXTD=lbums. As a piece of work, it continues Bowie and Eno's musical e
EXTD=xplorations. For that, those going through Bowie's back catalogue
EXTD= may find it interesting, yet unspectacular in parts.\nBowie's mu
EXTD=sical aims at this point, unlike later with the success of Let's 
EXTD=Dance, weren't about pleasing the fans. It was however, about doi
EXTD=ng something new. Lodger has a lot of stuff that stands out in an
EXTD= odd way, or slips by you. But it doesn't feel as cutting edge as
EXTD= its predecessors Heroes and Low did - what it is is a more assor
EXTD=ted, almost disparate outing.\n\nWhile the album doesn't shine as
EXTD= a whole, there are nuggets in the rough. "Look Back In Anger" wh
EXTD=ich would become a Bowie live favourite - is as excellent as they
EXTD= come. "Boys Keep Swinging" sounds dated now, but is memorable fo
EXTD=r its music video, which should have come with the CD. "DJ" is Bo
EXTD=wie's histrionics. A nod to campiness. The other tracks feature B
EXTD=owie's stabs at different vocal stylings and world beats. \n\nBy 
EXTD=today's standards, old Bowie fans would hunger for him to return 
EXTD=to a form like this. A better album to come would be the next one
EXTD= however - Scary Monsters and Super Creeps. But one must give Bow
EXTD=ie his dues for his constant experimentation - which has made him
EXTD= the legend he is.\n\nCollect this if you must. But this one does
EXTD=n't get much play amongst my Bowie collection.\n\nAMAZON.COM CUST
EXTD=OMER REVIEW\nBowie has never produced an album this good since, J
EXTD=uly 2, 2001\nReviewer: Tom (London)\nThis is usually considered t
EXTD=he worst of the Berlin period Bowie/Eno albums, not least by the 
EXTD=participants themselves, but it actually contains some the best S
EXTD=ONGS of the three albums. How can any album which contains "Fanta
EXTD=stic Voyage", "Yassassin", "Red Sails", "DJ", "Look Back In Anger
EXTD=", "Boys Keep Swinging" and "Red Money" be considered disappointi
EXTD=ng? Admittedly, "African Night Flight" suffers from a distinct la
EXTD=ck of anything resembling a tune while "Move On" and "Repetition"
EXTD= are second string Bowie (tho the latter has very interesting and
EXTD= brave lyrics on domestic violence. Elsewhere, Bowie's magpie ten
EXTD=dencies are on display, "Red Sails" is a pretty blatant steal of 
EXTD=the Neu/Harmonia motorik style (in particular Harmonia's "Monza")
EXTD= but redeemed by Bowie's inventive melody and singing. Likewise, 
EXTD="Look Back In Anger" suggests Bowie had been listening as closely
EXTD= to the Walker Brothers' "Nite Flights" album as Scott Walker had
EXTD= been listening to "Low" and "Heroes"! Overall, the album has a s
EXTD=urprisingly lean and sparse feel with Bowie's best ever rhythm se
EXTD=ction (Carlos Alomar/ Dennis Davis/ George Murray) as reliable as
EXTD= ever, Adrian Belew fills in as "stunt guitarist" in the absence 
EXTD=of Robert Fripp, and almost out-Fripps the master on "Boys Keep S
EXTD=winging"! Bowie and Eno contribute here and there too, in fact, t
EXTD=here's more of Eno in a songwriting sense on this album than on e
EXTD=ither "Low" or "Heroes", odd as it's usually considered the least
EXTD= Enoesque of the trilogy. The bonus track, (the oddly titled) "I 
EXTD=Pray Ole" is good if not essential, sounds to me as if it re-uses
EXTD= chords from another song (a typically Enoesque ploy) but the 198
EXTD=8 version of "Look Back In Anger" merely demonstrates how much le
EXTD=ss interesting Bowie was in 1988 compared with 1979....\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nFantastic Voyage, June 20, 2000\nReviewer: 
EXTD=John B. Maggiore (Buffalo, NY United States)\nMy first impression
EXTD= of "Lodger" was that it was a journeyman effort. With time, howe
EXTD=ver, I have come to appreciate it much more. It remains inconsist
EXTD=ent, and contains odd barriers, but its heart is strong.\nThe bar
EXTD=riers are the first several elements encountered with the disk, s
EXTD=tarting with the unattractive cover. The cover, of course, has no
EXTD=thing to do with the music (neither does the name --there is no s
EXTD=ong called "Lodger"), but it sets the wrong mood. So does the fir
EXTD=st song, "Fantastic Voyage." Actually, the first several songs ar
EXTD=e mediocre. If the other albums of the "Berlin Trilogy," "Low" an
EXTD=d "'Heroes'" have stronger first halves, "Lodger," has a much str
EXTD=onger second half.\n\nThe album picks up with "D.J." "D.J." is on
EXTD=e of Bowie's most megalomaniacal hits, and is far more enduring t
EXTD=han other frequently heard songs like "Golden Years" and "Let's D
EXTD=ance." "D.J." manages to meld the avant-garde with a popular danc
EXTD=e beat and very edgy lyrics. \n\n"D.J." gives way to one of my fa
EXTD=vorite Bowie songs, "Look Back in Anger." "Look Back" is musicall
EXTD=y upbeat but lyrically foreboding. I'm not exactly sure what the 
EXTD=song is about, but it seems menacing. Oblique Bowie is usually Bo
EXTD=wie at his best. The next song is "Boys Keep Swinging," which is 
EXTD=fun and also clever. The song's cleverness is that it may not be 
EXTD=as straightforward as it seems at first. The title suggests a ret
EXTD=urn to Bowie's earlier homo-erotic toying, but the words don't ne
EXTD=cessarily convey any such meaning. Instead, the song seems to be 
EXTD=an over-the-top joke about life as a male. The humor value would 
EXTD=be greater still if Bowie's serious! I can't hear the song withou
EXTD=t thinking also of Bowie's groundbreaking video for it, in which 
EXTD=he convincingly portrays his own (female) backup singers.\n\n"Rep
EXTD=etition" is a setback that comes across as preachy. The music is 
EXTD=not strong and, while its theme against wife beating is noble, it
EXTD= is also totally unsubtle. But "Lodger" recovers with its origina
EXTD=l closing song, "Red Money." "Red Money" can best be appreciated 
EXTD=after listening to Iggy Pop's "Sister Midnight," which uses the i
EXTD=dentical music and some of the same words. This is the first and 
EXTD=probably best of many Bowie covers of Iggy songs. I'm not sure ei
EXTD=ther what the song is about or what the point is about the differ
EXTD=ent lyrics, but it works.\n\n"Lodger" is possibly the only album 
EXTD=re-issued by Rykodisk with "bonus tracks" that work at the end of
EXTD= the album. The second version of "Look Back" is not necessary, b
EXTD=ut at nearly twice the length of the original it is noticeably di
EXTD=fferent. "I Pray, Ole" is a worthy addition to the album. Unlike 
EXTD=many Bowie albums, the last song on "Lodger" is not clearly a "cl
EXTD=oser," so the extra songs fit reasonably well. But they aren't th
EXTD=at important, so the current EMI reissue will suffice. \n\nSo, by
EXTD= the end of the album, the first half doesn't seem so bad. Medioc
EXTD=re Bowie is better than most other music, and mediocre Bowie at t
EXTD=his stage of his career is better yet. "Lodger" doesn't make it i
EXTD=nto the top echelon, but it comes close.\n\nHalf.com Details (Vir
EXTD=gin Remastered CD Edition)\nContributing artists: Adrian Belew, B
EXTD=rian Eno, Carlos Alomar \nProducer: David Bowie, Tony Visconti \n
EXTD=\nAlbum Notes\nThis is an Enhanced audio CD which contains regula
EXTD=r audio tracks and multimedia computer files.\n\nPersonnel: David
EXTD= Bowie (vocals, guitar, piano, Chamberlain, synthesizer); Tony Vi
EXTD=sconti (guitar, mandolin, background vocals); Adrian Belew (guita
EXTD=r, mandolin); Brian Eno (guitar, trumpet, horn, piano, synthesize
EXTD=r, sound effects); Carlos Alomar (guitar); Simon House (mandolin,
EXTD= violin); Stan (saxophone); Sean Mays (piano); Roger Powell (synt
EXTD=hesizer); George Murray (bass); Dennis Davis (percussion).\n\nRec
EXTD=orded at Mountain Studios, Montreaux, Switzerland.\nDigitally rem
EXTD=astered by Peter Mew and Nigel Reeve (1999, Abbey Road Studios, L
EXTD=ondon, England).\n\nLODGER (1979) was third in Bowie's Berlin tri
EXTD=logy, his collaboration with legendary producer/experimentalist B
EXTD=rian Eno, which began with HEROES and LOW (both released in 1977)
EXTD=. While those dark records were heavy on alien-sounding instrumen
EXTD=tals, LODGER had none, and even contained songs that seemed relat
EXTD=ively straightforward. Considered inaccessible at the time, LODGE
EXTD=R now sounds like a classic, transitional Bowie album, if only fo
EXTD=r its rich spirit of experimentation. From the Middle Eastern str
EXTD=ains of "Yassassin" to the bizarre wordplay of "African Night Fli
EXTD=ght," LODGER feels like a journey through strange lands.\n\nSongs
EXTD= like "Boys Keep Swinging" (later covered by ex-Bangle Susanna Ho
EXTD=ffs) and "DJ" have the structure of traditional rock songs, but t
EXTD=he odd textures, rough edges and dissonant elements make them int
EXTD=o something richer and stranger. "Look Back in Anger," with fierc
EXTD=e guitar playing by Adrian Belew, became a staple of Bowie's live
EXTD= concerts for years to come. "Red Money" is Bowie's adaptation of
EXTD= Iggy Pop's decadent, futuristic "Sister Midnight" from THE IDIOT
EXTD=. The anthemic "Red Sails" (co-written with Eno) has a majestic s
EXTD=ense of forward motion, its glorious crescendo and fadeout provid
EXTD=ing the record's most spine-tingling moments.\n\nIndustry Reviews
EXTD=\n4 Stars - Excellent - ...a crucial part of rock history...\nQ M
EXTD=agazine (10/01/1991)
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=Previously unrelease track, recorded 1979\n
EXTT11=New version recorded 1988\n
PLAYORDER=
