Happy 45th Anniversary to David Bowie’s thirteenth studio album Lodger, originally released May 25, 1979.
David Bowie’s thirteenth studio album Lodger is regarded as the concluding installment of his renowned “Berlin Trilogy,” which also includes Low (1977) and “Heroes” (1977). Ironically, the album was not recorded in Berlin, but Montreux, in September 1978 during his Isolar II world tour. The final sessions were finished in March 1979 in New York City at the end of the tour.
Under the supervision of Brian Eno, Lodger’s production incorporated the innovative use of Oblique Strategies, a card-based method of creativity. It was co-founded by Eno and multimedia artist Peter Schmidt in 1975. The technique involves using a collection of index cards that contain crafted responses, all aimed at providing solutions to dilemmas. A different article would have to be written to provide a more comprehensive explanation of this technique.
One of Lodger’s notable characteristics is its diverse blend of musical genres, fusing together world music, punk, funk, and avant-garde experimentation. The LP is a musical travelogue reflecting Bowie’s globetrotting experiences through themes of travel, displacement, and cultural dislocation. The lyrics are often cryptic and fragmented, inviting multiple interpretations, but they contribute to the album’s sense of disorientation and alienation.
In Lodger, Bowie explores his fascination with African music, embracing vibrant rhythms and polyrhythmic percussion. Examples include tracks like “African Night Flight” and “Move On.” The latter is a catchy uptempo number that features musicians playing along with a backward version of Mott the Hoople’s “All The Young Dudes.” Bowie’s instruction for studio musicians on the track was to swap instruments with each other.
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On the flipside, songs like “Boys Keep Swinging” and “DJ” exude a more straightforward rock energy. The latter reflects Bowie’s somewhat cynical thoughts about disco (“I am a DJ, I am what I play / I’ve got believers / Believing in me”), while mimicking David Byrne’s vocal style. The track is elevated by an incredible solo performed by guitarist Adrian Belew.
In hindsight, Lodger stands as proof of Bowie’s dynamic artistic vision and his steadfast refusal to conform to any specific genre. It may not be as accessible as some of his other works, but its boldness and innovation make it a compelling addition to his catalog. The LP served as a launching pad for producer Eno’s future musical endeavors, including his notable collaboration with David Byrne on My Life In The Bush Ghosts (1981). In his production on Talking Heads’ Remain In Light (1980), you can hear the influence of Lodger shining through.
While Lodger may not have been as acclaimed as Bowie’s earlier works when it was first released, its reputation has since flourished. Its adventurous spirit and innovative approach to music-making is a testament to Bowie’s restless creativity and willingness to push boundaries.
Stepping outside the confines of commercial expectations, Lodger paved its own unique path. It should not be viewed as the lesser album in the Berlin Trilogy, but an epilogue to a fascinating tale of survival and eventual reinvention.
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