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"Heroes" (David Bowie album)

"Heroes" is the twelfth studio album by the English musician David Bowie, released on 14October 1977 through RCA Records. Recorded in collaboration with the musician Brian Eno and the producer Tony Visconti, it was the second release of his Berlin Trilogy, following Low, released in January the same year, and the only one wholly recorded in Berlin. Sessions took place in mid-1977 after Bowie completed work on Iggy Pop's second solo album Lust for Life. Much of the same personnel from Low returned for "Heroes", augmented by the King Crimson guitarist Robert Fripp.

The majority of the tracks were composed on the spot in the studio, the lyrics not being written until Bowie stood in front of the microphone. The music builds upon its predecessor's electronic and ambient approaches, albeit with more positive tones, atmospheres and passionate performances. The album also follows the same structure as its predecessor, side one featuring more conventional rock tracks and side two featuring mostly instrumental tracks.

The cover photo, like Iggy Pop's The Idiot, is a nod to the painting Roquairol by the German artist Erich Heckel. Upon release, "Heroes" was a commercial success, peaking at number 3 in the UK and number 35 in the US. It was the best-received work of the Berlin Trilogy on release; NME and Melody Maker each named it their respective album of the year. Bowie promoted the album extensively with television appearances and interviews. He supported Low and "Heroes" on the Isolar II world tour throughout 1978, live performances from which appear on multiple live albums.

"Heroes" has received enduring praise, particularly recognised for Fripp's contributions and the album's place within Bowie's longterm artistic development. Though critical opinion has viewed Low as the more groundbreaking record, "Heroes" is regarded as one of Bowie's best, most influential works. The title track, initially unsuccessful as a single, has remained one of his best-known and most-acclaimed songs. An altered and obscured version of the cover artwork was later used for the cover of The Next Day (2013). "Heroes" has been reissued several times and was remastered in 2017 as part of the box set A New Career in a New Town (1977–1982).

Background
In the second half of 1976, David Bowie moved to Switzerland with his wife Angela to escape the drug culture of Los Angeles. He then moved to the Château d'Hérouville in Hérouville, France, with his friend, the singer Iggy Pop, where the two recorded his debut studio album The Idiot in the summer of 1976. After meeting with the musician Brian Eno the same year, Bowie, the producer Tony Visconti and Eno began work on Low, the first instalment of what would come to be known as the Berlin Trilogy. Recording for Low began in September 1976 and continued through November, finishing up at Hansa Studios in West Berlin, following Bowie and Pop's move there.

RCA Records stalled on releasing Low for three months, fearing poor commercial performance. Upon its eventual release in January 1977, it received little to no promotion from both RCA and Bowie himself, who felt it was his "least commercial" record up to that point and instead opted to tour as Pop's keyboardist. The tour, launched to support The Idiot, lasted from March to April 1977. After the tour's completion, Bowie and Pop returned to Hansa Tonstudio 2, where they recorded Pop's next solo album Lust for Life in two and a half weeks, from May to June 1977. By the time he finished Lust for Life, Bowie was ready to begin work on his next record. In mid-June, he travelled to Paris to undertake his first promotional appearances in over a year. He filmed a music video for his Low single "Be My Wife", then taped two interviews with French journalists a week later. Afterwards, Bowie contacted Eno to discuss their next collaboration. The two spent a few weeks devising concepts and ideas for the new album before they were joined by Visconti, who was busy with other commitments.

Studio and personnel
For the album, Bowie, Visconti and Eno regrouped at Hansa Studio2 in West Berlin. Although the album was the second instalment of Bowie's Berlin Trilogy, it was the only one recorded entirely in Berlin. The studio was a former concert hall converted into a recording studio that had been used by Gestapo officers during World War II as a ballroom. The studio was located about 500 yards from the Berlin Wall, leading Bowie to describe it as "the hall by the wall". Describing how the location of the studio affected the creative process, Visconti recalled: "Every afternoon I'd sit down at [a] desk and see three Russian Red Guards looking at us with binoculars, with their Sten guns over their shoulders, and the barbed wire, and I knew that there were mines buried in that wall, and that atmosphere was so provocative and so stimulating and so frightening that the band played with so much energy". The guitarist Carlos Alomar told the biographer David Buckley: "These things [Germans, Nazis, the Wall, oppression] are hanging in the air, and when things get darker physically, you kind of think of darker themes too. Berlin was a rather dark, industrial place to work." Despite the dark atmosphere, Visconti particularly had an exciting time creating the album, saying, "It was one of my last great adventures in making albums."

Most of the album was recorded with the same personnel as its predecessor Low, with Alomar, George Murray and Dennis Davis as the core band. Bowie played piano, having gotten significantly more experience playing the instrument during his time with Pop. An addition to the lineup was the guitarist Robert Fripp, formerly of the band King Crimson, who was recruited at Eno's suggestion. The guitarist recalled: "I got a phone call [from Brian Eno] when I was living in New York in July 1977. He said that he and David were recording in Berlin and passed me over. David said, 'Would you be interested in playing some hairy rock 'n' roll guitar?' I said, 'Well, I haven't really played for three years – but, if you're prepared to take a risk, so will I.' Shortly afterward, a first-class ticket on Lufthansa arrived." Upon his arrival to the studio, Fripp sat down and recorded lead guitar parts for tracks he had never heard before. He also received little guidance from Bowie, who had yet to write lyrics or melodies. Fripp completed all his guitar parts in three days. Fripp's playing received significant praise from Visconti and Eno, who were impressed with Fripp's ability to play for songs he had never heard before with such "virtuosity". According to the biographer Nicholas Pegg, Fripp was not Bowie's first choice. Michael Rother of the German band Neu! had originally been approached to contribute, but shortly before the sessions began, he was contacted by an unknown person and informed that Bowie had changed his mind, although later interviews with Bowie suggested otherwise.

While producing other Bowie records, Visconti found that new ideas were flowing at a consistent basis and because of this, sometimes they tended to be forgotten. In order to counteract this, he kept a two-track tape running at all times. Murray recalled: "Tony had the insight to see what was happening in rehearsals so he just switched on the tape machines and let them run." Visconti himself later recalled: "It came in handy so many times...because we'd get lost. We'd start with an idea then go in the wrong direction, and after an hour we'd say 'How did this start again?'" During the sessions for Low, Visconti became frustrated with the lack of studio staff present at the Château. At Hansa however, he was assisted by in-house engineer Eduard Meyer, whom Visconti recalled was critical in maintaining a positive atmosphere. Likewise, the mood during "Heroes" was brighter and more optimistic than the sessions for Low. Bowie in particular was in a healthier state of mind. He and Visconti would travel around Berlin frequently and one on such occasion, they met Antonia Maass, a local jazz singer who would go on to provide backing vocals on "Heroes".

Recording process
According to the biographer Thomas Jerome Seabrook, the recording process for "Heroes" began at a very quick pace, following along from Low's process, with the basic backing tracks for side one being completed in just two days. Although he fed Davis's drums through his Eventide H910 Harmonizer on Low, Visconti used it sparingly on "Heroes", only during the mixing stage, and as such, the drum sound is atmospheric to the room; Davis also added congas and timpani to his set to take advantage of the large studio space. Visconti gave high praise to Davis, calling him "one of the best drummers I've ever worked with," further calling Alomar and Murray "amazing musicians...you'd just throw a few chord changes at them and they'd run with it." In an interview with NME later in the year, Eno said the initial phase of recording was "all done in a very casual kind of way." Bowie gave "very brief instruction", then the band would play. Hesitant at first, Eno found the process surprisingly effective, with most tracks being done in one take. Eno stated, "We did second takes, but they weren't nearly as good."

Overall, Eno had a much greater role on "Heroes" than he had for Low, being credited as co-author on four of the ten songs, leading Seabrook to call it the "truer" collaboration. Eno himself stated "We both worked on all the pieces all the time." Eno would act as "assistant director" to Bowie, giving feedback to the musicians and suggesting new – and unusual – ways to approach the tracks. One of these ways was the employment of Eno's Oblique Strategies cards. According to Chris O'Leary, these cards were "part-fortune cookie, part-Monopoly 'Chance' cards", intended to spark creative ideas. Although these cards were used greatly throughout the Lodger sessions, Eno and Bowie only used them on "Heroes" when creating the instrumentals, including on "V-2 Schneider", "Sense of Doubt" and "Moss Garden".

Following the initial sessions in July, recording for "Heroes" became more sporadic, with overdubs, vocals and mixing lasting until August. Like its predecessor, lyrics weren't written or recorded until all but Bowie and Visconti departed. Seabrook characterises this stage of recording as "sporadic bursts of inspiration surrounded by longer stretches of contemplation." When making The Idiot and Lust for Life with Iggy Pop, Bowie became fascinated with Pop's ability to improvise lyrics while standing at the microphone. For "Heroes", he decided to use the same method. Visconti later attested: "He'd never have a clue what he'd sing about until he actually walked in front of the microphone." Bowie usually completed his vocals in only one or two takes; Visconti provided backing vocals in the same fashion. The final mixes were done at Mountain Studios in Montreux, Switzerland, a studio that would become one of Bowie's mainstays. An engineer at Mountain, David Richards, would also become one of his regulars. Richards' assistant was Eugene Chaplin, the son of silent film star Charlie Chaplin.

Music and lyrics
As the second release of the Berlin Trilogy, the music on "Heroes" expands on the material found on its predecessor Low. The songs have been described by Consequence of Sound as art rock and experimental rock, while also further continuing Bowie's work in the electronic and ambient genres. Like its predecessor, the songs on "Heroes" emphasise tone and atmosphere rather than guitar-based rock. However, they are more positive in both tone and atmosphere than the songs of its predecessor; the author James Perone considers it more accessible, while Visconti described it as "a very positive version of Low." Biographer Paul Trynka writes that the record evokes "both past and future". It also follows the same structure as its predecessor, with side one featuring more conventional tracks, and side two featuring mostly instrumental tracks.

The author Peter Doggett writes that whereas Low featured lyrics of autobiographical nature, the lyrics of "Heroes" were "oblique and often deliberately evasive", and were sung with an "astonishing" amount of passion. Visconti recalled that lyrics were made up on the spot, with Bowie sometimes ad-libbing entire songs, singing "at the top of his lungs". Songs of this instance included "Joe the Lion", a tribute to the American artist Chris Burden, who was known for his outlandish publicity stunts, and "Blackout", which references the New York City blackout of 1977. Like the second side of Low, the imagery of the Berlin Wall dominates "Heroes" throughout; a kiss between Visconti and Maass at the foot of the Wall inspired a lyric for the title track. Bowie's vocal for "'Heroes'" goes from calm and playful to a near-scream, a style he called "Bowie histrionics". Musically, Fripp's guitar feedback dominates throughout, while the bass pulsates and Eno synthesisers blends in the background. Bowie explained the song is about "facing reality and standing up to it" and finding joyness in life. Buckley particularly highlights the lyric "We can be heroes, just for one day" as "an acknowledgment that the future didn't belong to him anymore, [but] to everyone".

"Sons of the Silent Age" was the only song written before the sessions began and was originally intended to be the album's title track. The lyrics are influenced by the works of Jacques Brel and follow several characters that are, in O'Leary's words, "part-homo superior/part-Bewlay Brothers". Musically, the song is noted by biographers as different than the rest of the songs on the album, in that the themes present reflect ideals from the previous decade rather than the contemporary, while O'Leary likens its sound more to that of Hunky Dory (1971) than the rest of the album. Biographers also consider the album's closer, "The Secret Life of Arabia", as a precursor to what Bowie would explore on Lodger.

The instrumentals are described by Buckley as dark and gloomy. "Sense of Doubt" puts a repeating four-note piano motif against a set of synthesisers to paint an image of a barren landscape. Bowie plays the Japanese instrument koto on "Moss Garden" which, together with synths, evoke a sound resembling aeroplanes flying overhead; Bowie further emphasises his fascination with Japan by stating he's "under Japanese influence" in "Blackout". "Moss Garden" segues into "Neuköln", which is named after a district in Berlin. The track uses sound to capture the feeling of despair and desperation that the Turkish immigrants who lived there experienced.

The majority of Low was influenced by krautrock bands such as Tangerine Dream, Kraftwerk and Neu! Earlier in 1977, Kraftwerk name-checked both Bowie and Iggy Pop on the title track of Trans-Europe Express, which was Kraftwerk's response to the title track of Station to Station. Although the influence of Kraftwerk and Harmonia are less prominent on "Heroes" in favour of Edgar Froese, Bowie paid tribute by naming the album after Neu!'s track "Hero" from their album Neu! '75, while "V-2 Schneider" is inspired by and named after Kraftwerk's Florian Schneider. However, many British listeners assumed "V-2" was a reference to the type of rockets used by the German army in World War II. "V-2 Schneider" is also notable for having an off-beat saxophone part played by Bowie, who began the take on the wrong beat but decided he liked it better and kept it as is.

Artwork and release
The cover photo was taken by Japanese photographer Masayoshi Sukita. Like the artwork for Iggy Pop's The Idiot, the cover is a nod to German artist Erich Heckel's paintings Roquairol and Young Man. Pegg describes Bowie's pose as "a wild-eyed Bowie locked in a rigid pose of serio-comic agitation, raising a flat palm as though he has just mimetically lifted the final mask of artifice from his face." In an interview with Charles Shaar Murray of NME, Bowie said that the quotation marks in the title "indicate a dimension of irony about the word 'heroes' or about the whole concept of heroism". Visconti would later state that the album was "heroic" in that it was a very positive period of Bowie's life and during the making of the album, everyone felt like heroes. Regarding the title, Bowie said, "I thought I'd pick on the only narrative song to use as the title," quipping he could have titled it The Sons of Silent Ages.

The title track was chosen as the lead single and released on 23September 1977, with fellow album track "V-2 Schneider" as the B-side. It was released in a shortened edited form in the hopes of more airplay, but Buckley believes this edit results in the song losing some of its "dramatic appeal". It was supported by a music video, shot in Paris and directed by Nick Ferguson, that features Bowie in the same jacket on the album cover against a backdrop of white light. For the German and French releases of the single, titled "Helden" and "Héros", respectively, Bowie re-recorded his vocals in both languages, with lyrics translated by Antonia Maass for the German release. Despite the song's later mass acclaim, it was initially a failure, peaking at number 24 on the UK Singles Chart and failing to chart in the US. Pegg and Chris O'Leary note that it wasn't until Bowie's Live Aid performance in 1985 did the song become recognised as a classic. Bowie later remarked in 2003: "This is a strange phenomenon that happens with my songs Stateside. Many of the crowd favourites were never radio or chart hits, and '"Heroes"' tops them all."

RCA issued "Heroes" on 14October 1977, with the catalogue number RCA PL 12522. Its release came amid the punk rock movement, whose music and fashion had been influenced by Bowie. RCA marketed "Heroes" with the slogan "There's Old Wave. There's New Wave. And there's David Bowie ..." Trynka praises the slogan as "a masterful piece of positioning that allowed David to remain aloof from a punk movement that, like glam before it, would turn into a parody of itself." Unlike Low, Bowie promoted "Heroes" extensively, conducting numerous interviews and performing on various television programmes, including Marc, Bing Crosby's Merrie Olde Christmas (where he recorded "Peace on Earth/Little Drummer Boy" with Crosby), and Top of the Pops (where he performed the title track).

The album was a commercial success in the UK, peaking at number 3 on the UK Albums Chart and remained on the chart for 33 weeks. It fared less favourably in the US, where it peaked at number 35 on the Billboard Top LPs & Tape chart, spending 19 weeks on the chart. Doggett writes that the album ended a string of eight top 20 albums in the US, becoming his worst-selling album there since 1971's Hunky Dory. RCA released "Beauty and the Beast" as the second single on 6January 1978, with "Sense of Doubt" as the B-side. It became a minor success in the UK, peaking at number 39 on the UK Singles Chart, staying on the chart for three weeks. NME editors Roy Carr and Charles Shaar Murray remarked that its "jarring, threatening edge...obviously put off a great many of the floating singles buyers attracted by the intoxicating romanticism of its immediate predecessor". The single was released in the US and Spain on a 12" promo and in a five-minute extended form, which failed to chart despite having "Fame" as the B-side.

Critical reception
On release, "Heroes" received very positive reviews from music critics. Allan Jones of Melody Maker named it "album of the year", calling it and its predecessor "among the most adventurous and notably challenging records yet thrust upon the rock audience." Angus MacKinnon of NME also named it the magazine's "album of the year", calling it Bowie's "most moving performance in years" and commended the artist's growing maturity. Kris Needs of ZigZag magazine further praised the record, noting that Bowie appeared to be continuing the musical explorations of Low, while at the same time, allowing listeners time to "catch up with Low." Needs ultimately described the album as "a strange, cold sometimes impenetrable album, but Bowie makes all these unlikely ingredients work." Writing in Hit Parader, American musician and author Patti Smith praised it as "a cryptic product of a high order of intelligence."

The record was not without its detractors. Tim Lott of Record Mirror gave the album a more mixed assessment, calling it "disjointed" and criticised the instrumentals on side two as having less "continuity" than the ones found on Low. Lott further considered Bowie's vocals "hollow" and the lyrics "opaque". Overall, although he felt it was intriguing, he stated: "As an album, "Heroes" stuns for just [the title] track. The rest is clever, but not brilliant and you expect no less from Bowie. In that sense it's a disappointment, a come-down from Low." In the US, a reviewer for Billboard also gave a mixed assessment, calling it an "extension" of both "Bowie's cosmic rock vision" and Low, and overall felt the record was "a musical excursion into a realm only Bowie himself can define." In the Los Angeles Times, Robert Hilburn lamented the way Bowie's "fluctuating pop interests caused him to shift from style to style faster than his ability to master them", ultimately calling it one of the artist's "least arresting turns". Creem Trixie A. Balm liked side one but dismissed side two, ultimately finding "Heroes" "doesn't rock". In Canada, The Gazette's Juan Rodriguez commented on the "melodramatic space-rock from the genre's leading practitioner".

Some reviewers commented on Eno's contributions, including Bart Testa of Rolling Stone, who highlighted Eno's involvement. He contended that after Bowie's "auteurist exploitation" of the former on Low, "Heroes" "prompts a much more enthusiastic reading of the collaboration, which here takes the form of a union of Bowie's dramatic instincts and Eno's unshakable sonic serenity". The Village Voice critic Robert Christgau was less receptive to Eno's contributions, particularly the second side's instrumentals, saying that they are "interesting background" but "merely noteworthy as foreground, admirably rather than attractively ragged", in comparison to "their counterparts on Low". In the Voice's annual Pazz & Jop critics poll, "Heroes" finished 21st in the voting for 1977's top album.

Subsequent events
Upon completion of his promotional appearances for "Heroes", Bowie recorded narration for an adaptation of Sergei Prokofiev's classical composition Peter and the Wolf, released as an album in May 1978. Bowie later said that it was a Christmas present for his son, Duncan Jones, then seven years old. He then played then lead role in the David Hemmings-directed film Just a Gigolo. Released in February 1979, Just a Gigolo was panned by both critics and audiences. Bowie himself was critical of the film, calling it "my 32 Elvis Presley movies rolled into one" in an interview with NME.

After filming his scenes for Just a Gigolo in February 1978, Bowie began rehearsals for an upcoming tour. The Isolar II world tour, also known as "the Stage tour", lasted from March to the end of the year. Songs from both Low and "Heroes" made up the majority of the shows, while Ziggy Stardust-era songs and other hits from 1973 to 1976 were played. By now Bowie had broken his drug addiction; Buckley writes that the tour was "Bowie's first tour for five years in which he had probably not anaesthetised himself with copious quantities of cocaine before taking the stage. ... Without the oblivion that drugs had brought, he was now in a healthy enough mental condition to want to make friends." Performances from the tour were released on the live album Stage in September the same year, and again from a different venue in 2018 on Welcome to the Blackout.

Critical legacy
Although "Heroes" was the best-received work of the Berlin Trilogy on release, in subsequent decades critical and public opinion has typically fallen in favour of Low as the more ground-breaking record owing to its daring experimental achievements. Pegg writes that the album is rather seen as an extension or refinement of its predecessor's achievements rather than a "definitive new work". Seabrook notes that Low had the advantage of being released first and seen as "the greatest and canniest musical move" of Bowie's entire career. However, compared to other records released in 1977, he writes that "Heroes" still "sounds like a blast from the future". Perone finds that the mix of songs and instrumentals makes "Heroes" feel more "integrated"; having "Sense of Doubt", "Moss Garden" and "Neuköln" flow from one to the next "give[s] the listener the feeling that [the album] was...meant to be experienced as a unified whole". "Heroes" has nonetheless been regarded as one of Bowie's best and most influential works.

Retrospective reviews praise Bowie's growth as an artist and Fripp's contributions. Stephen Thomas Erlewine of AllMusic praised the album, noting the growing artistic maturity compared to its predecessor. He further praised the addition of Fripp, stating that his guitar adds a greater "musical foundation" to the electronic sound. He ultimately writes: "The difference between Low and "Heroes" [essentially] lies in the details, but the record is equally challenging and groundbreaking." Ryan Dombal of Pitchfork similarly praised the record, calling Bowie's vocal performances some of his finest and highlighted Fripp as the standout. In a review in which he commended the entire Berlin Trilogy, Dombal identified "Heroes" as the album that indicated the most artistic growth for Bowie, after turning 30 and escaping years of drug addiction. Many reviewers and biographers have particularly highlighted the title track as one of Bowie's finest, with some considering it his greatest song.

In a 2013 readers' poll for Rolling Stone, "Heroes" was voted Bowie's eighth best album. Five years later, the writers of Consequence of Sound ranked "Heroes" as Bowie's fifth-greatest album, stating that "The weary 'optimism' of "Heroes" is mesmerizing. Even on its gloomiest tracks, there's this upbeat, impassioned impression that everything's okay, even just for one day." In 2020, Brian Kay of Classic Rock History ranked "Heroes", along with Low and Lodger, as Bowie's seventh greatest work, calling the trilogy a "fascinating chapter" in Bowie's life. In 2013, NME ranked the album 329th in their list of the 500 Greatest Albums of All Time. The album was also included in the 2018 edition of Robert Dimery's book 1001 Albums You Must Hear Before You Die.

Influence
An early instance of the album's influence was John Lennon's comment in 1980 that, when making his album Double Fantasy, his ambition was to "do something as good as "Heroes"." The Irish rock band U2 chose to record their Eno-produced Achtung Baby (1991) at Hansa by the Wall in Berlin in honour of "Heroes" being recorded there. Other artists inspired by "Heroes" include Andy McCluskey of Orchestral Manoeuvres in the Dark, who referred to the "unconscious influence" of Bowie on his singing style, Vince Clarke, who called it a "rebellion inspiration", Ian Astbury of the Cult and Robyn Hitchcock. Scott Walker used "Heroes" as "the reference album" when making the Walker Brothers' Nite Flights (1978), according to engineer Steve Parker.

In 1997, American composer Philip Glass adapted the album into a classical piece, titled "Heroes" Symphony. A follow-up to his earlier 1992 adaptation of Low, titled "Low" Symphony, the piece is separated into six movements, each named after tracks on "Heroes". Like its predecessor, Glass acknowledged Eno's contributions as equal to Bowie's on the original album and credited the movements to the two equally. Unlike the "Low" Symphony, the "Heroes" Symphony was developed into a ballet by American choreographer Twyla Tharp. Both the ballet and Symphony were greeted with acclaim. Bowie and Glass remained in contact with each other until 2003 and discussed making a third symphony, which never came to fruition. After Bowie's death in 2016, Glass stated the two had talked about adapting Lodger for the third symphony, which adapted as his 12th symphony in 2019. Glass described Low and "Heroes" as "part of the new classics of our time".

The cover of Bowie's 2013 album, The Next Day, is an altered and obscured version of the "Heroes" cover. This version has the word "'Heroes'" crossed out and Bowie's face obscured by an opaque white box reading "The Next Day". Designer Jonathan Barnbrook explained that Bowie had a feeling of isolation when making "Heroes" and he wanted to recapture that feeling for The Next Day. He further emphasised: "We tried out every single Bowie cover there's been, but it ended up as "Heroes" because it's such an iconic album, and the image on the front has the right kind of distance...The Next Day, in combination with the "Heroes" image, and what the album is saying about somebody who's looking back at his age...it just felt appropriate."

Reissues
"Heroes" has been reissued several times. RCA reissued the album on vinyl in 1980 and released it on compact disc for the first time in the mid-1980s. It was subsequently reissued in 1991 by Rykodisc with two bonus tracks, including the outtake "Abdulmajid". A further CD release in 1999 by EMI/Virgin, without bonus tracks, featured 24-bit digitally remastered sound.

In 2017, the album was remastered for the A New Career in a New Town (1977–1982) box set released by Parlophone that September. It was released in CD, vinyl, and digital formats, as part of this compilation and then separately in February 2018. A volume shift in the 2017 remaster of the title track received ire from fans and critics, but Parlophone proceeded to describe it as intentional and unalterable, because of damages in the original master tapes. After the critical voices would not lessen, a statement was released on the official Bowie website announcing corrected replacement disks for the "Heroes" CD and LP; the replacement disc offer lasted until June 2018. The amended remaster featured on the replacement discs was also used for the standalone CD and LP release of "Heroes" in February 2018.

Personnel
Personnel per the liner notes and biographer Nicholas Pegg.

 * David Bowie – vocals, keyboards, guitars, saxophone, koto, tambourine, backing vocals
 * Brian Eno – synthesisers, keyboards, guitar treatments
 * Robert Fripp – lead guitar
 * Carlos Alomar – rhythm guitar
 * George Murray – bass guitar
 * Dennis Davis – drums, percussion
 * Tony Visconti – percussion, backing vocals
 * Antonia Maass (Maaß) – backing vocals

Technical
 * David Bowie – producer
 * Tony Visconti – producer, engineer
 * Colin Thurston – engineer
 * David Richards – assistant engineer, mixing
 * Eugene Chaplin – assistant engineer
 * Jonathan Wyner – mastering engineer
 * Masayoshi Sukita – cover photograph

title: "Heroes" (David Bowie album)


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Gary Carr (politician)

Gary Carr (born August 14, 1955) is a Canadian politician in Ontario, Canada. He served as a Progressive Conservative member of the Legislative Assembly of Ontario from 1990 to 2003, and served in the House of Commons of Canada as a Liberal from 2004 to early 2006. Gary Carr is currently the Chair of the Regional Municipality of Halton.

Background
Carr has a certificate in Business Administration from Ryerson University, and was a businessman and sales manager in the transportation industry before entering public life. He continued his education as a politician, and received an MBA from Athabasca University in 2002. Carr also played professional ice hockey for five years in the farm teams of the Boston Bruins and Quebec Nordiques. In 1975, he was a Memorial Cup champion as a member of the Toronto Marlboros.

Provincial politics
Carr was first elected to the Ontario legislature in the provincial election of 1990, defeating incumbent Liberal Doug Carrothers by 108 votes in the riding of Oakville South. From 1993 to 1995, he was his party's Deputy House Leader.

The Progressive Conservatives won a majority government under Mike Harris in the provincial election of 1995, and Carr was easily re-elected. He was appointed as a parliamentary assistant to the Solicitor-General for the entire term.

Carr was again re-elected in the provincial election of 1999, defeating Liberal Kevin Flynn by over 13,000 votes. He was chosen as Speaker of the legislature on October 20, 1999, and held this position for the entirety of the parliament which followed.

Like his predecessor Chris Stockwell, Carr was known as an impartial Speaker who was willing to criticize his own government. In 2003, he alienated several members of the Progressive Conservative Party by ruling that the government of Ernie Eves had committed a prima facie act of contempt against the legislature by holding its budget announcement at the headquarters of Magna International, rather than in the legislature itself. He was critical of the direction taken by the Progressive Conservative Party in this period, and did not seek re-election in 2003. He left politics and briefly coached the London Racers hockey team in London, UK.

Federal politics
In 2004 Carr was recruited to run as a Liberal in the riding of Halton, which bordered his old provincial riding. He defeated Conservative candidate Dean Martin in the election. Carr was defeated in the 2006 election by Conservative challenger Garth Turner.

Halton regional chair
Gary Carr was elected as Chair of Halton Region on November 13, 2006. Carr overwhelmingly defeated former Halton Region CAO Brent Marshall, who resigned from his position as CAO to run against Carr. Carr was sworn in as the Regional Chairman on December 6, 2006.

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title: Gary Carr (politician)


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Lodger (album)

Lodger is the thirteenth studio album by the English musician David Bowie, released on 25 May 1979 through RCA Records. Recorded in collaboration with the musician Brian Eno and the producer Tony Visconti, it was the final release of his Berlin Trilogy, following Low and "Heroes" (both 1977). Sessions took place in Switzerland in September 1978 during a break in the Isolar II world tour, and in New York City in March 1979 at the tour's end. Most of the same personnel from prior releases returned, and the future King Crimson guitarist Adrian Belew joined from the tour. The sessions saw the use of techniques inspired by Eno's Oblique Strategies cards, such as having the musicians swap instruments and play old songs backwards.

The music on Lodger is based in art rock and experimental rock. It lacks the electronic and ambient styles and the song/instrumental split that defined its two predecessors, favouring more conventional song structures and explores styles such as avant-pop, world and new wave music. Lyrically, the album is divided into two major themes: travel (side one) and critiques of Western civilisation (side two). Pop artist Derek Boshier took the cover photo, portraying Bowie as an accident victim across the gatefold sleeve.

Lodger was a modest commercial success, peaking at number 4 in the UK and number 20 in the US. It produced four singles, including the UK top 10 hit "Boys Keep Swinging". Innovative music videos directed by David Mallet accompanied three of the four singles. The album initially received mixed critical reviews, with many calling it the weakest of the Berlin Trilogy. Reception has grown in subsequent decades and it is now widely considered to be among Bowie's most underrated albums. Its world elements have been highlighted as particularly influential. Bowie and Visconti were dissatisfied with the album's original mix and, in 2015, Visconti remixed the album with Bowie's approval for inclusion on the 2017 box set A New Career in a New Town (1977–1982), along with a remaster of the original.

Background
In the second half of 1976, David Bowie moved to Switzerland with his wife Angela to remove himself from Los Angeles' drug culture. He began a very productive schedule that would continue for the next few years. He moved to the Château d'Hérouville in Hérouville, France, with his friend, the singer Iggy Pop. There, the two recorded Pop's debut studio album The Idiot (1977). He then met the musician Brian Eno in the same year, and began a series of collaborations with Eno and producer Tony Visconti that would become known as the Berlin Trilogy. The first instalment, Bowie's 11th studio album Low, was recorded at the Château from September to November 1976, with additional recording taking place at the Hansa Tonstudio in West Berlin, following Bowie and Pop's move there.

After Low's release in January 1977, Bowie toured as Pop's keyboardist. After the tour's completion, the two returned to Hansa Tonstudio, where they recorded Pop's next solo album Lust for Life (1977) in two and a half weeks, from April to May 1977. Bowie then began his next collaboration with Visconti and Eno, his 12th studio album "Heroes", which was recorded at Hansa sporadically in July and August 1977. Bowie undertook extensive promotion for "Heroes", released in October 1977, conducting numerous interviews and performing on various television programmes, including recording a collaboration, "Peace on Earth/Little Drummer Boy", with the singer Bing Crosby on Bing Crosby's Merrie Olde Christmas television special in 1977. He then recorded narration for an adaptation of Sergei Prokofiev's classical composition Peter and the Wolf, released as an album in May 1978, acted in the David Hemmings film Just a Gigolo, and began the Isolar II world tour, which lasted from March 1978 to the end of the year.

Recording and production
Recording for Lodger began during the four-month break in the Isolar II world tour during September 1978. Although Lodger is known as the final release of the Berlin Trilogy, it was largely recorded at Mountain Studios in Montreux, Switzerland, with additional recording to finish the album at the Record Plant in New York City. The atmosphere in Montreux was very different from that in Berlin; the studio was built on the site of a previous studio that had burned down. Whereas Hansa Tonstudio was located near the Berlin Wall, Mountain Studios was located in an Alpine retreat. The guitarist Carlos Alomar described the location as "boring", preferring the "excitement" of Hansa. Mountain also lacked the Hansa's acoustics.

Many of the same musicians from the previous records—Eno, Visconti, Alomar, Dennis Davis and George Murray —returned for the Lodger sessions. A new addition was the future King Crimson guitarist Adrian Belew, whom Bowie had "poached" while the guitarist was touring with Frank Zappa; Belew's eventual bandmate Robert Fripp played guitar on "Heroes". Much of Belew's work on Lodger was composited from multiple takes played against backing tracks of which he had no prior knowledge, not even the key. Belew recalled, "When I arrived, they had about twenty tracks already done: bass, drums, rhythm guitar, but no vocals. They said, 'We're not going to let you hear these songs. We want you to go into the studio and play accidentally – whatever occurs to you'." Belew described the final guitar solo on "D.J." as sounding like "you're changing channel on the radio and each channel has a different guitar solo on it".

The sessions saw Bowie and Eno utilise techniques from Eno's Oblique Strategies cards. According to the biographer Chris O'Leary, these cards were "part-fortune cookie, part-Monopoly 'Chance' cards", intended to spark creative ideas. Eno and Bowie used them previously to create some of the instrumentals for "Heroes". Using the cards, Bowie and Eno conducted numerous experimental methods during the sessions. Some of these included using old tunes played backwards, employing identical chord sequences for different songs and having the musicians swap instruments, as Alomar and Davis did on "Boys Keep Swinging". The pianist Sean Mayes explained: "[Bowie] was very keen on spontaneity. He liked everything to be recorded in one or two takes, mistakes and all." The biographer Nicholas Pegg writes that several songs, including "African Night Flight", "Yassassin" and "Red Sails", were composed "around a melodic clash of disparate cultures". Due to the experimental nature of the sessions, initial working titles for the album included Planned Accidents and Despite Straight Lines. Unlike the lyrics for "Heroes", which Bowie largely improvised as he stood next to the microphone, he wrote most of Lodger's lyrics at a later date; they were unknown during the Mountain sessions. Other than "Yassassin" and "Red Sails", most of the tracks were recorded with working titles.

Alongside the use of Eno's Oblique Strategies cards, Visconti recalled Eno having more leeway during the sessions than those for Low and "Heroes". For "Look Back in Anger", Eno gave the backing band eight of his favourite chords and instructed them to "play something funky". Alomar disliked this, telling biographer David Buckley that he "totally, totally resisted it". Despite Eno assuming control at certain points, he appeared on, and co-wrote, only six of the album's ten tracks. Eno felt the trilogy had "petered out" by Lodger, and Belew also observed Eno's and Bowie's working relationship closing down: "They didn't quarrel or anything uncivilised like that; they just didn't seem to have the spark that I imagine they might have had during the "Heroes" album." Visconti shared similar sentiments, saying on multiple occasions: "I don't think [David's] heart was in Lodger." "We had fun, but nevertheless an ominous feeling pervaded the album for me."

The sessions at Mountain Studios lasted three weeks, after which the band went back on tour. At the tour's conclusion, Bowie reconvened at the Record Plant in March 1979, where he recorded his lyrics and instrumental overdubs, and began mixing. Belew returned to record further guitar overdubs while Visconti recorded a replacement bass guitar part for "Boys Keep Swinging" after Bowie decided Davis' original was unsuitable; work was completed in a week. Visconti recalled having "sonic problems" during the mixing stage because the studio did not have the technical advancements of European studios.

Musical style
Much like its two predecessors, Consequence of Sound described the music on Lodger as art rock and experimental rock. However, the album abandons the electronic and ambient styles and the song/instrumental split that defined the two earlier works, in favour of more conventional song structures. Visconti explained: "We dropped the ambient-side-two concept and just recorded songs!" As such, Lodger is the most "accessible" record of the Berlin Trilogy; AllMusic's Stephen Thomas Erlewine described the songs as "twisted avant-pop", while Belew similarly characterised them as "avant-garde pop music". Its musical textures, particularly on "African Night Flight", have been cited as presaging the popularity of world music, Bowie himself considered the album a forerunner of the sounds developed by Eno and David Byrne for My Life in the Bush of Ghosts (1981). Frank Mastropolo of Ultimate Classic Rock wrote that Lodger combines world and new wave music into a "pop format". Although Bryan Wawzenek, also of Ultimate Classic Rock, found Lodger to be the more accessible record of the Berlin Trilogy, he also felt it to be the most experimental, observing elements of Middle Eastern music, reggae, world and krautrock within the vast array of pop songs. Biographers have singled out the final track on "Heroes", "The Secret Life of Arabia", in particular, as a precursor to what Bowie would explore on Lodger, both musically and thematically.

After the ominousness of Low and "Heroes", biographers have described the opening track, "Fantastic Voyage", as "surprisingly delicate" and "serene"; a thought author Peter Doggett believes implies a "less intense" record. The song shares the same chord sequence as "Boys Keep Swinging" and features three different players playing mandolin parts; each part was triple-tracked to create a total of nine parts. Bowie composed "Move On" after accidentally playing his earlier composition "All the Young Dudes" backwards, then having Alomar write out the reversed chord sequence. "Yassassin" combines funk and reggae, using a violin played by Simon House to create a sound reminiscent of a Middle Eastern folk song and Turkish music. In part, the music of German band Neu! inspired "Red Sails", sharing their distinctive "motorik" drum beat; Pegg describes it as "an upbeat slab of new wave pop". The track has also been compared with Harmonia's 1975 track "Monza (Rauf und Runter)".

Bowie said that "D.J." was "somewhat cynical" and his "natural response to disco". Bowie mimics David Byrne of Talking Heads in his vocal performance. Wawzenek highlighted "D.J." as a "danceable gem". Doggett describes "Look Back in Anger" as "propulsive and impatient", while Ned Raggett of AllMusic called it a "sharp-edged, thrillingly modern rock song". O'Leary particularly highlights Davis' drumming as the standout, while Alomar's guitar solo was influenced by John Lennon's rhythm guitar work in the Beatles. The Quietus found "Boys Keep Swinging" to contain elements of glam rock and garage rock. For the recording, which has the same chord sequence as "Fantastic Voyage", Bowie instructed the band to swap instruments. "Repetition" features a bass guitar riff that is described by Buckley as "insistent and very odd". Doggett highlights its sound as similar to funk music. "Red Money" is built around the backing track of "Sister Midnight", an Iggy Pop song he recorded with Bowie for The Idiot. New guitar parts were added, along with electronic effects, backwards guitar and vocal harmonies.

Lyrics and themes
Though missing the song/instrumental split that characterised Low and "Heroes", Lodger has been interpreted as covering two major themes— travel and critiques of Western civilisation on sides one and two, respectively. In early 1977, Bowie said, "I don't live anywhere, really. I travel 100% of the time," further noting, "The more I travel, the less sure I am about exactly which political philosophies are commendable. All my traveling is done on the basis of wanting to get my ideas for writing from real events rather than from going back to a system from whence it came." Because of this, Lodger is interpreted by some as a concept album. Some songs showcase heavily politicised lyrics, including "Fantastic Voyage", which deals with the "depression" brought on by Cold War leaders and the possibility of nuclear war, and "Repetition", which deals with domestic violence. James Perone finds a general theme of political oppression and insanity. Eno was unhappy with the direction Bowie took for the lyrics.

Regarding side one's theme of travel, Pegg writes that the songs revive a "perennial motif" prevailing throughout the Berlin Trilogy, highlighting the line, "I've lived all over the world, I've left every place" from the Low track "Be My Wife", pointing out the journey is both metaphorical and geographical. Between the Montreaux and New York sessions, Bowie traveled to Kenya with his son Duncan Jones, which inspired the lyrics for "African Night Flight". The same trip, along with ones to Japan and Australia, inspired "Move On", which reflects the theme of wanderlust throughout side one. Regarding the song titles, Doggett quips, "After his 'African Night Flight', what else to do but 'Move On'!" When asked about "Red Sails", Bowie said in 1979: "Here we took a new German music feel and put it against the idea of a contemporary English mercenary-cum-swashbuckling Errol Flynn, and put him in the China Sea. We have a lovely cross-reference of cultures. I honestly don't know what it's about." Pegg writes that "Red Sails" symbolises Bowie's venture away from the mainstream. "Yassassin" is Turkish for 'long live', from the word yaşasın. Like the instrumental "Heroes" track "Neuköln", the song is about the discrimination Turkish immigrants who lived in Berlin faced, although its lyrical approach is more direct.

The lyrics of side two primarily critique Western society. "D.J." takes a sardonic look at the world of the disc jockey. On the song, the DJ is looked at solely for what he is on the outside: "I am a DJ, I am what I play". Swiftly compared to Elvis Costello's "Radio Radio" (1978), writer Ian Mathers describes the song as "a horror story about a human being reduced to nothing more than work". "Look Back in Anger" sees Bowie encounter an angel of death who has come to claim his soul. "Boys Keep Swinging" contains gender-bending lyrics, particularly, "When you're a boy, other boys check you out." In 2000, Bowie said of the track: "The glory in that song was ironic. I do not feel that there is anything remotely glorious about being either male or female. I was merely playing on the idea of the colonisation of a gender." In "Repetition", the narrator conveys no emotion when beating his wife, leading Buckley to describe it as Bowie at "his most chilling". "Red Money" proclaims the message "project canceled". Regarding the "red boxes" that appear throughout, Bowie stated: "This song, I think, is about responsibility. Red boxes keep cropping up in my paintings and they represent responsibility."

Artwork
Bowie collaborated on the cover design for Lodger with English pop artist Derek Boshier, who would later design the artwork for Bowie's 15th studio album Let's Dance (1983). The original gatefold album sleeve featured a full-length shot by photographer Brian Duffy of Bowie in a tiled bathroom looking like an accident victim, heavily made up with an apparently broken nose and a bandaged hand. This was inspired by the self-portraits of Egon Schiele. To accomplish the shot, taken in February 1979 at Duffy's London studio, Bowie balanced himself on a steel frame while the photographer captured the image from above. The broken nose and facial morphing were accomplished using prosthetic make-up and nylon threads. Bowie's bandaged hand was genuine; according to Pegg, he had burned it with coffee that morning and decided to incorporate the hand into the photo. At Bowie's request, the image was taken in a low resolution with a Polaroid SX-70 type camera; outtakes from the photoshoot have appeared in the 2014 book Duffy/Bowie – Five Sessions. The front features a postcard with the album title in four different languages, enhancing its theme of travel. Inside the gatefold are pictures of Che Guevara's corpse, Andrea Mantegna's painting Lamentation of Christ and Bowie being readied for the cover photo. Rykodisc did not reproduce these images on their 1991 CD reissue.

Release and promotion
RCA Records released the lead single from Lodger, "Boys Keep Swinging", with "Fantastic Voyage" as the B-side, on 27 April 1979. To promote the song, Bowie had appeared on The Kenny Everett Video Show four days earlier. According to Pegg, he dressed in a "1950s Mod-style suit" that made him look like a "fresh-faced schoolboy". David Mallet, who Bowie chose to direct a promo video for "Boys Keep Swinging", directed the programme. The promo and his Everett performance were filmed back-to-back, although the former featured extra backup dancers who turned out to be Bowie in drag. The Everett performance, along with an appearance as the guest DJ on Radio 1's Star Special, helped "Boys Keep Swinging" reach number seven on the UK Singles Chart, Bowie's highest-charting single since "Sound and Vision". However, due to the song's gender-bending video and lyrics, RCA refused to release the single in the US.

RCA issued Lodger on 25 May 1979, with the catalogue number RCA BOW LP 1. Its release came almost two years after "Heroes", marking the longest gap between Bowie studio albums since his second album Space Oddity (1969). Buckley writes that within that time, new wave had begun to emerge and overtake punk rock as the dominant genre, highlighting the likes of Blondie and Kate Bush. He also notes that music videos and artists who were influenced by the music on Bowie's prior releases of the Berlin Trilogy, such as the Human League, Devo and Gary Numan, had begun to gain popularity.

Lodger performed well commercially, peaking at number four on the UK Albums Chart and remaining on the chart for 17 weeks. It peaked at number 20 on the US Billboard Top LPs & Tape chart, remaining on the chart for 15 weeks. Throughout the year, Bowie was out-performed commercially by Numan, who had number one hits with Tubeway Army's "Are "Friends" Electric?", his debut solo album The Pleasure Principle, and its lead single "Cars". Numan, a huge fan of Bowie's, was antagonised by Bowie's fans who viewed him as a mere copycat. Bowie himself criticised Numan, which led to a feud between the two artists that lasted for years. According to Buckley, Numan's fame indirectly led to Bowie taking a more pop-oriented direction for his next studio album, Scary Monsters (and Super Creeps) (1980).

"D.J." was chosen as the second single, with "Repetition" as the B-side, released on 29 June 1979, Pegg calls it a "boldly uncommercial choice" for a single. Appearing in edited form, the single stalled on the charts, peaking at number 29 in the UK. It was supported by a music video, also directed by Mallet. The video features Bowie walking down a road in London's Earl's Court, attracting surprised fans, interspersed with shots of him as an abused DJ. "Yassassin" was released as the album's third single in the Netherlands, backed again by "Repetition", in July 1979. It failed to chart, but the Dutch single edit was later included on Re:Call 3, as part of the A New Career in a New Town (1977–1982) box set (2017). After releasing "Boys Keep Swinging" as a single only in the UK, RCA released "Look Back in Anger", with "Repetition" once again as the B-side. as the album's fourth single in the US and Canada only, where it failed to chart. A music video, again directed by Mallet, promoted it. The video, inspired by Oscar Wilde's The Picture of Dorian Gray (1891), depicts Bowie as a painter in an attic studio whose self-portrait begins to decay and melt.

Critical reception
In contrast to the universal praise received by its predecessor two years before, Lodger received mixed reviews from music critics on its original release. Among the negative reviews, Greil Marcus of Rolling Stone called the album "one of [Bowie's] weakest ... scattered, a footnote to "Heroes", an act of marking time", while Jon Savage of Melody Maker found it boring and "a nice enough pop record, beautifully played, produced and crafted, and slightly faceless". In Smash Hits, Red Starr described the album as sounding like "a ragbag of rejects from previous styles" with "only occasional flashes of genius". A reviewer for Billboard similarly noted "the tone of the album is less foreboding than his more recent musical excursions". Although they considered this was both a "continuation" and a "departure" from his previous works, the magazine chose Lodger among their Top Album Picks the week of 9 June 1979. Paul Yamada of New York Rocker felt the album was a letdown compared to its two predecessors. Although he found some of the songs "good" and complimented its "easy-listening" nature, he noted the absence of the more "challenging" work on the earlier releases and found Lodger as a whole to be "a frustrating but well-crafted LP that is much less than it appears to be". Sandy Robertson of Sounds felt Lodger has "some ideas successfully realised", but as a whole is "not brilliant". The Chicago Tribune's Lynn Van Matre did not find it one of Bowie's best.

The album did receive some positive reviews. Ken Emerson in The New York Times called it Bowie's "most eloquent" record in years, while Robert Christgau of The Village Voice wrote favourably, stating that although the songs may seem impassive and not designful, he believed those qualities are "part of their charm—the way they confound categories of sensibility and sophistication is so frustrating it's satisfying". Tim Lott of Record Mirror wrote: "It's simply appealing in such an unusual way that a clear definition is impossible, even when plotted against its own predecessors rather than 'pop music' in general." He commended the variety of musical styles present but criticised some of the lyrics as lazy. William Carlton of the New York Daily News hailed it "Bowie at his best", praising the performances of Bowie and the band, and the various musical styles. A reviewer for the Chicago Sun-Times found Lodger "uneven" but ultimately "more interesting and entertaining" than its predecessors.

Influence and legacy
The consensus among critics at the time of its release was that Lodger was the weakest of the Berlin Trilogy. Biographer Paul Trynka states that Lodger lacked the "sense of risk and excitement" that had "pervaded" its two predecessors, which he partly attributed to the studio it was recorded at. However, soon after its release, NME editors Roy Carr and Charles Shaar Murray predicted that Lodger would "have to 'grow in potency' over a few years, but eventually, it will be accepted as one of Bowie's most complex and rewarding projects". Indeed, Lodger has come to be considered as one of Bowie's most underrated works. Wawzenek described it as Bowie's Return of the Jedi (1983) rather than his The Godfather Part III (1990). While biographer Christopher Sandford calls Lodger a "slick, calculatedly disposable record", Buckley contends that "its stature grows with each passing year", and Pegg sums up, "undervalued and obscure practically from the moment of its release, its critical re-evaluation is long overdue".

In regards to the Berlin Trilogy as a whole, Seabrook finds that then and now, listeners come to Lodger expecting a "resolution" to the sounds and themes of its two predecessors, but do not get that. He further contends that it lacks the "pioneer spirit" of Low and the "sheer gravitas" of "Heroes". Nevertheless, he considers some of the tracks, including "African Night Flight", "Repetition" and "Red Money", as among his best work of the period. Perone argues that Lodger is "by far" Bowie's "most lyrically and musically challenging" album of his late 1970s and early 1980s output, further illustrating the influence of contemporaries on the artist. Trynka states that over the years, the album has attracted "admiration" rather than "visceral love or hatred", and its sound is viewed as a forerunner to the sound of Talking Heads and Spandau Ballet. Lodger is one of Bowie's most influential works according to Encyclopædia Britannica. Biographer Marc Spitz agrees, citing its use of world music as influential on Talking Heads' Remain in Light (1980) and Paul Simon's Graceland (1986). Spitz describes the album's promotional videos directed by Mallet "as innovative as anything Bowie had ever done before".

Retrospective appraisal
Retrospectively, Lodger has received more positive reviews. Upon the album's 1991 reissue, Ira Robbins compared its accessibility to its predecessors and felt the songs were forerunners of Let's Dance in Entertainment Weekly. Writing for The Rolling Stone Album Guide in 2004, Rob Sheffield praised Lodger, stating it "rocks just as hard as Station to Station and Aladdin Sane". He also commented on the "razor-sharp musical corners" and "new layers of wit and generosity in the songwriting", highlighting "Boys Keep Swinging", "D.J." and "Fantastic Voyage". Jon Dolan of Spin magazine considered Lodger to be a great end to "[Bowie's] best decade", calling it "his last great album".

In 2008, Chris Roberts of Uncut magazine felt that Lodger never received the appreciation it deserved, writing: "Generally perceived as the afterthought of the legendary "Berlin trilogy"... Lodger deserves a room of its own in the critical pantheon." Ian MacDonald agreed, writing that it was always thought of as the "anticlimax" of the trilogy, but nevertheless, stating that "if it doesn't add up as a single listening experience, its parts are rarely without quality." Erlewine also gave the album a positive review, writing: "It might not stretch the boundaries of rock like Low and "Heroes", but it arguably utilises those ideas in a more effective fashion." Mike Powell of Pitchfork described Lodger as "the first David Bowie album marketed as nothing more than an album of recorded music by David Bowie". He commented on the record's accessibility compared to Bowie's prior releases. Although he felt Lodger might always be remembered as the least "essential" effort of the Berlin Trilogy, Wawzenek concludes: "as a postcard from one of Bowie's most exciting phases, it's a fascinating glimpse of the artist in the midst of a bold transition".

Electronica/techno artist Moby would later say the only reason he got his first job as a golf caddy was so that he could afford to buy Lodger, which had just come out at the time. American indie rock band Built to Spill referenced the album in their song "Distopian Dream Girl" taken from their 1994 album There's Nothing Wrong with Love. A few of Lodger's songs influenced two English Britpop bands in the 1990s. Blur used the same chord sequence as "Fantastic Voyage" and "Boys Keep Swinging" in their 1997 single "M.O.R.". The song's chorus also borrows the melody and call-and-response vocals from "Boys Keep Swinging"; Bowie and Eno both received credit for "M.O.R." after legal intervention. The lead singer Damon Albarn has cited Bowie as an influence. Oasis named their 1996 single "Don't Look Back in Anger", written by Noel Gallagher, after "Look Back in Anger". American indie rock band Shearwater covered the album in its entirety at live shows and on The A.V. Club following Bowie's death in early 2016.

In the 1990s, American composer Philip Glass adapted Low and "Heroes" into classical music symphonies, titled "Low" Symphony and "Heroes" Symphony, respectively. Glass informed Bowie of the projects and the two stayed in touch with each other until 2003; the two discussed making a third symphony which never came to fruition. After Bowie's death, Glass said the two had talked about adapting Lodger for the third symphony, adding that "the idea has not totally disappeared". In January 2018, Glass announced the completion of a symphony based on Lodger. The work is Glass' 12th Symphony; it premiered in Los Angeles in January 2019. Like Glass's other adaptations, the "Lodger" Symphony is separated into seven movements, each named after tracks on Lodger. The symphony marked the completion of his trilogy of works based on Bowie's Berlin Trilogy.

2017 remix
Reviewers criticised Lodger's original mix for many years, calling it "over-cluttered" and "over-produced". Regarding the mix, Visconti stated: "My only regret is that we went to New York to finish [the] album and it suffered at the mixing stage because New York studios simply were not as versatile or well-equipped as their European counterparts in those days." Bowie also expressed disappointment in the mix, citing distractions in his personal life at the time and the overall feeling he and Visconti had that the record did not come together as easily as its two predecessors. Bowie and Visconti began discussing the possibility of remixing Lodger during the sessions for Bowie's 24th studio album The Next Day (2013) for a possible deluxe edition reissue, with the latter explaining: "[It's] an important record to both of us. David agrees it never sounded the way we wanted."

During the sessions for Bowie's final album Blackstar in 2015, Visconti secretly began remixing Lodger. He presented the new mixes to Bowie, who approved of them before his death. Visconti finished the remix in late 2016 and included it on A New Career in a New Town. Erlewine praised the remix as "dense and colorful without changing the feel of the original", helping to "focus attention on an excellent record that often gets overshadowed by the three albums accompanying it in this box." Rolling Stone's Kory Grow wrote that the new mix "loosens" the album's sound, saying there is "a greater emphasis on orchestral strings" and the percussion "sometimes comes out of different speakers". Grow further noted that the mix makes "everything [feel] generally lighter", notably on "Red Money" and "Yassassin". Overall, Grow gave praise to the new mix, calling it a "brilliant new take" and noting that the original now feels "muddier" by comparison. Chris Gerard of PopMatters also praised the remix, believing it "drastically improved" the record and is "nothing short of revelatory". Gerard gave the most acclaim to "D.J.", writing that its new mix gives the track "more punch and clarity". Ultimately, Gerard felt the new mix is the highlight of the box set and gives Lodger enough recognition to be labeled as among Bowie's finest works.

Reissues
Lodger has been reissued several times. Although the original 1979 vinyl release featured a gatefold cover, some later LP versions such as RCA's 1981 US reissue presented the album in a standard non-gatefold sleeve. The album was first released on CD by RCA in the mid-1980s. Rykodisc and EMI reissued the album with two bonus tracks in 1991, including the outtake "I Pray, Olé" and a new version of "Look Back in Anger". Another reissue, without bonus tracks, was released by Virgin Records and EMI in 1999, featuring 24-bit digitally remastered sound. In 2017, the A New Career in a New Town (1977–1982) box set released by Parlophone included two versions of Lodger: a remaster of the standard album and a new remix by Visconti. The 2017 remaster was separately released, in CD, vinyl, and digital formats, the following year.

Personnel
Credits are adapted from the album's liner notes. The track numbers refer to CD and digital releases of the album.
 * David Bowie – lead and background vocals; synthesiser (4); piano (1, 6); Chamberlin (6); guitar (8, 10)
 * Brian Eno – ambient drone (1); prepared piano and cricket menace (2); guitar treatments (5); synthesisers (5, 7); horse trumpet and eroica horn (7); piano (8); backing vocals (4)
 * Tony Visconti – mandolin (1); guitar (3–4); bass guitar (8); backing vocals (1, 3–4, 7–8, 10)
 * Adrian Belew – mandolin (1); guitar (3, 5–6, 8–10)
 * Carlos Alomar – guitar (2–7, 9–10); drums (8); backing vocals (4)
 * Dennis Davis – drums (1, 4–6, 9–10); percussion (2–3, 7); bass guitar (8); backing vocals (4)
 * George Murray – bass guitar (all but track 8); backing vocals (4)
 * Sean Mayes – piano (1–3, 5, 7)
 * Simon House – mandolin (1); violin (4–5, 8–9); backing vocals (4)
 * Roger Powell – synthesisers (9–10)
 * Stan Harrison – saxophone (5)

Production
 * David Bowie – producer
 * Tony Visconti – producer, engineer, mixing
 * David Richards – engineer
 * Eugene Chaplin – assistant engineer
 * Rod O'Brien – mixing engineer
 * Greg Calbi – mastering engineer

title: Lodger (album)


text:
Bartholomew Columbus

Bartholomew Columbus (Bertomê Corombo; Bartolomeu Colombo; Bartolomé Colón; Bartolomeo Colombo; c. 1461 – 12 August 1515) was an Italian explorer from the Republic of Genoa and the younger brother of Christopher Columbus.

Biography
Born in Genoa in the 1460s, Bartholomew became a mapmaker in Lisbon, the principal center of cartography of the time, and conceived with his brother the "Enterprise of the Indies", a planned expedition to reach the Orient and its lucrative spice trade by a western rather than an eastern route. In 1489 he went to England to seek assistance from Henry VII for the execution of the expedition. He was taken by pirates and landed in England in a destitute condition, and on presenting himself at Court was unfavorably received. He then sought help at the court of Charles VIII in France, again without success.

Meanwhile, his brother Christopher was in Castile trying to persuade Isabella I of Castile and Ferdinand II of Aragon to back the expedition. When word arrived in 1493 that his brother had succeeded, Bartholomew returned to Spain, where he missed Christopher, who had already left on the second voyage of his four to the "New World".

Funded by the Crown, Bartholomew Columbus traveled to Hispaniola in 1494 to meet his brother, where he was appointed as an adelantado, a senior-ranking governor, during his brother's absences. He founded the city of Santo Domingo on Hispaniola between 1496 and 1498, which is now the capital of the Dominican Republic. He was imprisoned together with Christopher and another brother, Giacomo (also called Diego), by Francisco de Bobadilla and returned to Spain in December 1500.

After the Court acquitted Christopher Columbus of all of the charges, the Crown funded Christopher Columbus's fourth and last voyage to the West Indies. Bartholomew accompanied his brother on this final New World voyage, and was to be left with a garrison near the Belén River. Bartholomew's men were attacked by the local Ngäbe leader, El Quibían.

On 30 July 1502, they arrived at Guanaja, one of the Bay Islands off the coast of Honduras. Christopher sent his brother to scout the island. As Bartholomew explored, a large trading canoe approached. Bartholomew Columbus boarded the canoe, and found it was a Maya trading vessel from Yucatán, carrying well-dressed Maya and a rich cargo. The Europeans looted whatever took their interest from amongst the cargo and seized the elderly captain to serve as an interpreter; the canoe was then allowed to continue on its way. This was the first recorded contact between Europeans and the Maya. It is likely that news of the piratical strangers in the Caribbean passed along the Maya trade routes – the first prophecies of bearded invaders sent by Kukulkan, the northern Maya feathered serpent god, were probably recorded around this time, and in due course passed into the books of Chilam Balam.

Following Christopher Columbus's death in Spain in 1506, Bartholomew returned to the Antilles in 1509, accompanying his nephew Diego, but Bartholomew soon returned to Spain when King Ferdinand II of Aragon confirmed his concession involving Mona Island near Puerto Rico; the King would reclaim the appealing little island from Bartholomew's heirs after Bartholomew's death on 12 August 1514 (by which time Bartholomew had returned to Hispaniola).

Bartholomew Columbus had a natural daughter named Maria born in 1508 as the result on a relationship with Catalina Marrón. Nothing is known of them beyond a brief mention in Columbus's will dated 1511.

Legacy
The island of Saint Barthélemy in the Caribbean was named in his honour by Christopher Columbus.

title: Bartholomew Columbus