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In 1990 he told the world he was retiring many of his classic repertoire from his live set by playing his hits for the final time of the ‘Sound+Vision’ world tour. Either way, it helped him to stretch his legs ahead of the reinvigorating period that was to follow: a decade of inspiration and left-turns. This only set his hard rock supergroup side-project Tin Machine up for a fall, but their self-titled 1989 debut and 1991 follow-up ‘Tin Machine II’ – a hangover from Bowie’s ‘80s period’ – are largely viewed as Bowie’s greatest missteps. Bowie himself even dismissed this era as his “ Phil Collins years”. This is what birthed the bloated and commercial, big-haired, shoulder-padded ‘80s silliness of ‘Tonight’ and ‘Never Let Me Down’, backed by the concept-heavy stadium Broadway pomp of The Glass Spider Tour. After 1980’s spiky proto-grunge art-rock masterpiece ‘Scary Monsters (And Super Creeps)’ and the mammoth success of 1983’s pop-tastic delight ‘Let’s Dance’, he seemed less concerned with innovation and more with chasing hits and mass approval. He always did tap into the zeitgeist, but sadly for Bowie that meant becoming a little consumed by the money-hungry spirit of the ‘80s. Given the work that came in the years before, it’s hardly surprising. This was when Bowie found pre-millennial relevance, but few recognised it at the time. It’s a period ripe for revision, given as so many of his moves back then were met with raised eyebrows and derision. Since he sadly left us in 2016, he’s gained somewhat of a saintly reputation – but people have not always been so kind.Ī new box set, ‘Brilliant Adventure’, celebrates all of Bowie’s solo albums from 1992 up until 1999’s ‘Hours’, as well as throwing in the unreleased 2001 record ‘Toy’ for good measure.
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It’s hard to imagine now that there was ever a time when people might mock David Bowie, but mock they did.