After reaching the top creative and earn the eternal respect, how to continue to The Rise & Fall Of Ziggy Stardust and not disappoint?

That nickname The Chameleon had not been given anything more because it is, and most expected a radical new twist on Bowie's career, one that would result in a record as good or better than its predecessor, using a formula and different sound But since one sees the image of the album cover, one can guess that Ziggy Stardust is back at it again. While it is assumed that the character in turn is not Ziggy, Aladdin Sane, but it is inevitable to feel that the true protagonist is once again the quintessential alien glam. David himself described the album as "Ziggy goes to America 'and lyrically is composed of anecdotes and experiences on U.S. soil during his 1972 tour with the Spiders From Mars. Each song has a subtitle for a different American cities, so you could say that each is dedicated to their respective city. It is a continuation of the story of his predecessor, because Aladdin Sane is not a concept album, but is just one more episode in the seventies stage of Bowie. A collection of songs which have always been blamed their lack of cohesion and unity, which is quite strange, since most of the issues remain the same essence and spirit of glam, but for some reason, they work best separately and independent.

Aladdin Sane's sound is generally like Suffragette City last disc: rollingstoniano that spirit of revelry and festivity rockin steady. Beyond the cover of Let's Spend The Night Together, the influence of the Stones is obvious: Just heard the jubilant reception is bright Watch That Man, that reminds me particularly of Brown Sugar Jagger and Richards. But one can also find here some jazzy flavors (Time, Lady Grinning Soul and the track that gives name to the disk) and bluesy cuts over there (Cracked Actor, The Jean Genie). As in every Bowie album, the sound is unique. If anything can boast Aladdin Sane, it has a tremendous variety and heterogeneity: on the one hand we have pure rock & roll cuts like Panic In Detroit and Watch That Man, with their dirty guitar riffs and the great Keith Richards accompanied by female vocals (especially those of outstanding Panic in Detroit where it seems that the voice is going to explode), or we can find a delightful doo-wop cincuentero in Drive-In Saturday that supposedly portrays the perspective of an inhabitant of the future by looking back time and experiencing moments of melancholy. In the same mood is The Prettiest Star, with David's idol and legend of glam, Marc Bolan on guitar. It is especially nice for his unspeakable warmth.

We also have a handful of cuts cabaretescos air, as the fascinating title track, which is a complete delusion fumadísimo surreal and that leaves no one indifferent. It begins with a jazzy character bieeen ordinary and appealing melody and enveloping, but halfway it becomes a drogadísima and arrhythmic improvisation on the piano reached insane proportions. At first it seems a complete hair taken: Mick Garson (not Ronson), which is in charge of the piano, it seems only a junkie pounding keys without rhyme or reason, but eventually one find meaning in every second passage of this freak. Time is not as good because of its theatricality and bombast. Its ruin it airs epic enough, but neither is it something that insult my ears. In Lady Grinning Soul, piano arpeggios granted a magical and dreamy. David's vocals delivering is not bad either. But if you want more aceleraditos are rhythms and kick-back, there are also those that are addictive blues The Jean Genie (considered by some as the best of disco) and Cracked Actor, both insanely catchy riffs. Especially the latter, I never tire of hearing it. Being the one corresponding to Los Angeles, tells the story of some unfortunate actor who has become a niche commercial product rather than an artist.

Speaking of pure rock, we also find that recontra-accelerated version of Let's Spend The Night Together, that while not exceeding the original, is a huge breath of pure fresh air. You have very good these unusual spatial arrangement and Pacheco.

"Defects? Not many, but the few who have, are the aforementioned lack of unity between each song with the rest. Unlike Ziggy Stardust, this one could listen to the songs in a completely distinctive order and would not have much difference, which is not exactly a good thing. Maybe it's my thing, but on an LP I've always liked the connection of each item with the previous and the next. On the other hand, some courts are guilty of being rather weak lyrically (The Prettiest Star, Time)

It is a very underrated album and obscured by his predecessor, whose only sin was being born after him. Abundant in major issues and possessor of some classic rounded, is one of the most crucial episodes in the career of David. Owns and synthesizes the best of the works that had been delivering The Chameleon until then: the pachequez of Space Oddity, the energy of The Man Who Sold The World, the chewy sweetness of the melodies and Hunky Dory, and the maturity and balance of Ziggy Stardust .

Personally, it was an album that grabbed me from the first listen, being that by then I was already a complete devotee and admirer of Bowie, so if you enjoyed their previous album, Aladdin Sane hardly disappoint. It is better than The Rise & Fall Of Ziggy Stardust, but never intended to be either. Does not reach the immortal classic status, but little is missing.