Ongoing History of New Music
Episode: “Why Bowie Still Matters – Part 2”
Host: Alan Cross (Curiouscast)
Release Date: December 3, 2025

Episode Overview

The second installment of Alan Cross’s three-part series explores the enduring influence of David Bowie, focusing on his transformation during the late 1970s through the 1990s. This episode details Bowie’s “Berlin Trilogy,” his artistic reinventions, commercial triumphs and struggles, and the ripple effect of his work on subsequent musical genres and artists. Alan Cross examines Bowie as the quintessential musical chameleon—someone who defied conventions and inspired outsiders, innovators, and entire movements.

Key Themes and Discussion Points

Bowie Among Rock’s Most Influential

[01:09]

• Alan Cross opens by ranking Bowie alongside Elvis and The Beatles, stating Bowie’s impact is undeniable and expansive:

  “The more you study the history of rock, the more you realize just how many roads lead back to Bowie in some way or another. And although he's been gone for years, he casts a big shadow.”
  (Alan Cross, 02:00)

The Golden Years and The Thin White Duke

[02:10-05:30]

• By the mid-70s, Bowie was both musically and personally tumultuous—deep into cocaine and alcohol, crafting the eerie “Thin White Duke” persona.
• Despite substance abuse, he delivered the ambitious Station to Station (1976), inspired by hallucinations and existential alienation:

  “He was so coked out during that entire period...he doesn't remember a thing.”
  (Alan Cross, 01:55)

• Bowie's style—non-status quo, theatrical—became a favorite among British punks.

The Berlin Trilogy: Low, "Heroes," and Lodger

[06:00-11:00]

• Bowie moved to West Berlin, seeking artistic rebirth and sobriety with Iggy Pop.
• At Hansa Studio, he crafted three groundbreaking albums:
  • Low (1977): Experimental, electronic; side two is instrumental, heavily influenced by Brian Eno. At release, baffled fans and label, but later seen as visionary.

    “At the time, this was viewed as something, I don't know, out beyond the orbit of Neptune. Now, though, we can look back and say, wow, Bowie was right again.”
    (Alan Cross, 09:15)

  • "Heroes" (1977): Continued electronic and krautrock fusion, title inspired by various stories including his producer’s kiss near the Berlin Wall.
    • Track recorded in English, German, and French.
    • Recognized as a heroic, emotional classic, influencing the coming new wave.
  • Lodger (1979): Experimental, least commercial, not recorded in Berlin but continued the sound. Explores travel and societal critique; much later recognized as underrated.

“If you want to fast forward ahead, this is the kind of music groups like Talking Heads would be making in a few years. Ask Moby and Blur and even Oasis what they think of this record and you’ll get some very different answers from what people were saying about it in 1979.”
(Alan Cross, 11:45)

Pivotal Influence on New Musical Movements

[09:00-12:00]

• Low, in particular, spotlighted as the catalyst for post-punk, synthpop, and alternative electronics:
  • Influenced Joy Division's Unknown Pleasures (producer Martin Hannett tried to capture “what Bowie was doing”)
  • Artists from Depeche Mode, OMD, and Gary Numan to Nine Inch Nails, Radiohead, and Arcade Fire have cited Low and Berlin trilogy as essential to their sounds.

The Transition to the 1980s: Scary Monsters and Super Creeps

[14:15-16:30]

• Bowie moved back to London and New York, aiming for a more commercial yet cutting-edge sound with Scary Monsters and Super Creeps (1980).
• “Ashes to Ashes,” the centerpiece, was both a callback to “Space Oddity” and a massive visual experiment:

  “It cost £250,000, so well over half a million dollars in today's money... The most expensive video ever made to that point.”
  (Alan Cross, 15:30)

• Scary Monsters catalyzed the New Romantic scene—direct influence seen in Duran Duran, Spandau Ballet, Depeche Mode, etc.
  • The video featured early members of these scenes.

“No Bowie, no Smiths. And think about where modern music would be without them.” (Alan Cross, 16:15)

Acting Career and Massive Commercial Leap

[16:45-18:40]

• The early 80s saw Bowie exploring film (The Elephant Man, The Hunger, Labyrinth).
• Lands a huge $17.5M EMI deal, resulting in Let’s Dance (1983) recorded in 17 days—a commercial juggernaut that sold over 6 million copies.
  • Spawned the Serious Moonlight tour, but left Bowie feeling disconnected:

    “I remember looking out over these waves of people...and thinking, I wonder how many Velvet Underground albums these people have in their record collections. I suddenly felt very apart from my audience and it was depressing because I didn't know what they wanted.”
    (David Bowie quoted by Alan Cross, 19:50)

Creative Decline and Reinvention

[19:50-22:15]

• Following Let’s Dance, attempts at recapturing magic with Tonight (1984) and Never Let Me Down (1987) fell flat. Bowie’s innovation waned, and critics called the output “tired” and “fake enthusiasm.”
• Realizing the need for a reboot, Bowie wiped his slate clean:
  • Launched the “Sound and Vision Tour,” promising to retire his classic hits after.
  • Formed Tin Machine, a raw rock band; initially tepidly received but later credited with anticipating the grunge/alt-rock explosion.

1990s and Reclaiming Artistic Integrity

[22:15-26:30]

• Once the long-standing contract with Tony DeVries expired in 1996, Bowie finally gained financial control over his work.
• Alternative and industrial musicians (Nine Inch Nails, Smashing Pumpkins, Suede, Oasis, Blur) increasingly cited Bowie as key inspiration.
• Notably, Bowie and Trent Reznor of Nine Inch Nails collaborated on the darkly iconic "I'm Afraid of Americans" (Earthling, 1997), with a remix and video that became fan favorites.

Notable Quotes and Moments

• “For about 15 years from 1970 forward, Bowie’s career was a masterclass in cultural synthesis. More than anyone else, he showed how a musician could absorb influences from everywhere…and then incorporate all what you learned back into music.”
  (Alan Cross, 25:25)

• “He was a hero of outsiders and weirdos, punks, alternative kids, gay people, and basically anyone who didn’t fit into normal society. Bowie showed that being an outsider could be a strength rather than a handicap.”
  (Alan Cross, 24:50)

• “Bowie lived life as a work of art in itself.”
  (Alan Cross, 26:45)

Timestamps for Key Segments

• Bowie's Place in Rock History: 01:09–02:00
• The Thin White Duke & Station to Station: 02:10–05:30
• The Berlin Years – Low, Heroes, Lodger: 06:00–11:45
• Influence on Post-Punk/New Wave: 09:00–12:00
• Scary Monsters and the 80s Shift: 14:15–16:45
• Let’s Dance and Aftermath: 16:45–19:50
• Career Decline and Tin Machine: 19:50–22:15
• 90s Reinvention & Alt-Rock Influence: 22:15–26:30
• Summary of Bowie's Impact: 25:25–26:45

Episode Tone

Cross’s narration is informative, enthusiastic, and reverent—mixing cultural history with wry observations and deep respect for Bowie’s protean creativity. The tone remains accessible, weaving critical analysis with anecdotes and the ‘connect-the-dots’ insight that defines Ongoing History of New Music.

Final Thoughts

Alan Cross closes this episode by summarizing Bowie’s unique legacy—his endless reinvention, role as outsider icon, cultural connective tissue, and artistic courage. The episode sets up for part three: Bowie’s final years and his prescient understanding of technology and finance.