"I've been meaning to write a review on this album for some time now. I was in middle-school when this album came out. My cousin, who is a huge David Bowie fan, bought this CD and we listened to it in the car while driving home. I was absolutely blown away. Sadly, this was the first time I really ever heard David Bowie (boy was I missing out). I ran out right away and bought my own copy and I've not been able to put it down since. This album is responsible for opening countless doors for me in the music world. Before this I was stuck in a rut of listening to whatever was on the radio but this album showed me there is so much more out there.
David Bowie is a true artist. This album is a work of art. Every song takes on its own personality, and between the songs are creepy monologs of characters that accent the music. I love every track on this CD. Some of the tracks are very hard and industrial-like, and some are more upbeat and dance-like. I agree with another reviewer in saying that the album is quite bipolar; great analysis. This album is nothing like his previous works or his following; but then again, when are any of his albums similar to one another. David Bowie is forever changing with the times. That's why he's been one of the top musical artists for so long.
"
My Name is Mr. Touchshriek
Gustave O. Frey | Oracle, AZ | 12/06/2005
(5 out of 5 stars)
"This Bowie album soars to great heights primarily because it flies UNDER the radar. Somebody switches off the rock star spotlight and Mr. Bowie, being a nocturnal type, calls for the murkier and shyer elements of his personality to venture to the surface. Murder, dismemberment, torture occur INSIDE (in the dense physical world), not OUTSIDE. The music is outside. God is also outside, adjusting the radio hum, tending the celestial fires and so forth. Lunacy, the female, the moon: compared to the inane arsons going on inside, "Outside" is quite sensible and liquid. Mr. Bowie and company are merely arranging flowers and wrapping gifts as it were. This dimension of the album can easily be missed.
Unlike Rupert Hine's crisp but bleak "Immunity," "Outside" respects the presence of a loving goddess somewhere. Not all witches are wicked. Some are though. A church-inspired organ on "I'm Deranged" holds my hand, lest I succumb to Ramona, an emotional vampire who would make Gustav Klimt consider going into accounting. "Outside" is both infatuated with and terrified of the female, and for good reason: Ramona is having a bit more than a "midi (?) life crisis." She's nuts. (I believe the proper English is "deranged.")
Mr. Touchshriek's eery cameo appearance could pass for a Ginger Baker senior moment, but, no, it's just Mr. Bowie pulling our chain. And, on "Wishful Beginnings," the background vocal sounds like Brian Eno being stretched out on a rack. Maybe it is.
Despite its grim allusions, this album is actually very upbeat, very much about keeping a stiff upper lip, even if the lower one is quivering. Moreso than ever, Mr. Bowie is game. We can't just avoid or regret the world; we also have to live in it. If we agree to stick around, Mr. Bowie will turn on a night light, even if it is a spooky moon.
Bowie's mafioso impersonation is ridiculous and provides the perfect setup for the lunar winds of "I'm Deranged." Actually, the first few notes of "I'm Deranged" have much in common with the riff repeated in "Tell The Truth." The impersonation distracts your mind but your body remembers the riff, and, subliminally combined, the song really takes off. I don't know, maybe I'm just deranged too.
Fittingly, the last song ("Strangers When We Meet" on my CD)is a love song, all beat up and muddy, recalling with great fondness and regret the twinkle-twinkle of a receding little star."
One of the best.
Balthusdas | 11/13/2005
(5 out of 5 stars)
"I can see why this wasn't a hit, but it has some legitamately moody pieces and would have to be my favorite bowie album after Station to Station just because it sounds so unreal. After this came Earthling which sucked ass, but Outside stands as a great album and I'm Deranged and Strangers When We Meet are among Bowie's best songs."
Excellent and a 1/2
Bill Your 'Free Form FM Handi Cyber | Mahwah, NJ USA | 12/04/2009
(4 out of 5 stars)
"Outside was trashed by critics when it came in 1995, and for the life of me, I don't understand why. This was Bowie's first collaboration with Brian Eno since the great 1970s trilogy, Low,Heroesand Lodger.
I guess the critics wanted both to get into a time machine and go back to Berlin '77, or to create something they could easily tag as "an album as good, but with a modern sound." These idiots got neither--leave it to a music critic to build expectations and then have a hissy fit when he or she does not get what he or she wants. My bet: these prises probably trashed the Berlin Trilogy in the 1970s, too.
Outside is a marvelous album, full of, yes, 1990s sounds and textures. This is science fiction music using modern eletronics.
But two things lift Outside far above most 1990s electronic "experiements." First, the songs here work by any standard. The lyrics are great and Bowie sings fantastically, mostly in is late day, Scott Walker voice.
Second, the electronic use on this album is extremely detailed. Entire textures are created using digital equiptment here. These ARE textures, not SHEENS! There are wierd time shifts, and layers and layers of counterpoint going on in all this music--much more so than in even Radioheads electronic adventures, which I like.
All of the work here is as complex as it would be if Bowie and Eno were using an orchestra or a large horn section.
The music is an outstanding study in dynamics, that just happen to be created BY electronics.
I wonder which guy from Rolling Stone or Spin will be raising his hand in 2020, saying, "I pegged that one as a classic the day it came out."
Yeah. Go give five stars to Jessica Simpson, mellonhead."