After the failure of 'Black Tie, White Noise', David Bowie returned to the musical scene with this conceptual album that represented the reunion of Bowie and Brian Eno once again since late 70's.

There are very good songs in this record, like 'I'm deranged' (included in the opening credits of the disturbing David Lynch's film 'Lost Highway'), 'Strangers When We Meet' (a new version taken from the soundtrack of 'The Buddha Of Suburbia') that contains a wonderful piano performance by Mike Garson, 'The Motel', 'Wishful Beginnings' or 'Hallo Spaceboy', to cite but a few examples. Same as its predeccesor, 'Outside' is a catalyst of various musical styles (Rock. Techno, Jazz, Pop, Ambient, Electronic music) that will be probably remembered as one of Bowie's most audacious works.

The booklet of the CD deals with the investigation of the art-ritual murder of a 14-year-old teen called 'Baby Grace Blue' carried out by the detective Nathan Adler. There are several characters who are represented in various segues throughout the record. These segues are spoken-words performed by Bowie himself. The atmosphere of these passages is funny and realistic.

In fact, 'Outside' is, in my opinion, his most respectable album since the fantastic 'Scary Monsters' from 1980. Some pieces like 'We Prick You' or 'The Voyeur of Utter Destruction' are quite Techno for me, but this record is still being an enjoyable experience and very recommended to anyone who likes Bowie's music.

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.

This album is indeed an oddity (and not a space one), dark and foreboding in places, rich in pop in other places. It probably doesn't stand out on the David Bowie map of a discography, but contains good music nevertheless.

I tend to agree that Bowie's 1995's "Outside," probably won't get any nominations for the "Feel Good" soundtrack of the 90's. After all it is a concept album oddly enough built around this displaced and dislocated industrial future of crime and technology. It reeks of Matrix. It smells of The Blade Runner. It could be a soundtrack to a Tim Burton film. So you won't listen to this album all the way through as a "pick me up" on your drive home from the office, but one track or two may get you bumping and hopping across the dance floor.

Though, Brian Eno produces and plays here, Trent Reznor's, of nine-inch-nails fame, stamp is all throughout. Bowie has indeed proved himself a chameleon of the changing musical landscape through time and he has done that change of colors well. His music in "Outside," reflects musical trends of electronica and darkness of the times. Standouts are the allure and lustiness and dance floor grind of, "Hearts Filthy Lesson," the pop radio-play and British-ness of "I have not been to Oxford Town," the 80's drive of keyboard pulse of "No Control," and finally the pump up piano-laced drum beat of "Thru' These Architects Eyes."

Certainly Bowie could have filtered through the songs, made a cut, and released this as a more popular well-selling pop album, but he didn't. That's the beauty though of an artist that has already made his mark. They are freed up to pursue their artistic bent of the time. Without that, in "Outside," we wouldn't have gotten the arty concept of a twisted story with seedy characters of "Baby Grace," "Algeria Touchshriek," and "Nathan Alder." Granted some of us could do without the concept, but Bowie's music here holds interest and some songs should be ranked right up there with his best (though as a collection "Outside" will most likely be relegated to an obscure footnote).

--MMW

I've always been intrigued by David Bowie's music without ever investigating his back-catalogue. The greatest hits packages were where I thought Bowie ruled.

Recently, however, I've started buying his albums and I can't believe the quality of Bowie's music. The reason I feel compelled to write about 'Outside' is that this was the first album I can remember being released with any significance since the mid-80's. I remember not being very impressed with the singles "Heart's Filthy Lesson" (not included on the 'Se7en' soundtrack) and "Hallo Spaceboy", so I dismissed this CD.

How wrong I was! 'Outside' is one of Bowie's best albums.

'Outside' is a concept album based on an investigation by Bowie's alter-ego PI Nathan Adler and is one of the most tremendous and audacious undertakings in rock history. It combines different styles of music including predominantly the 'industrial' sound which was made popular at the time by NIN (I recall Bowie even toured the US with Trent Reznor). The tracks flow together brilliantly with various segues performed by Bowie, resulting in much more than just a collection of songs. The stand-out tracks include mellow and melodic "I'm Deranged" (the opening track to David Lynch's film 'The Lost Highway') and the catchy "I Have Not Been to Oxford Town" (heard in the film 'Starship Troopers') - demonstrating how impressionable this album was and still is. I wouldn't be suprised to find alot of people having heard these songs and not attributing them to this album or perhaps even to David Bowie. Other stand-out tracks include the most typical Bowie tune "Strangers When We Meet" and the dark and smooth "No Control".

But, if you do treat this album as only a series of songs, then you will miss out, as there have not been many concept albums of this quality. Use the production skills of Brian Eno (yes! Eno is back on deck) and the song writing flexibility of David Bowie to enjoy one of rock's best collaborations. You will not be disappointed if you are a true lover of Bowie's music or one who enjoys quality work.

After seeing the decent "Black Tie White Noise" slip into failed record company oblivion -- even after getting decent reviews and radio exposure -- Bowie suddenly found himself being listed by the likes of Trent Reznor as the artist who influenced them the most. That proclamation led to a friendship and subsequent tour with NIN, and a juicing of Bowie's creative muse.

The result was this semi-conceptual album about the "Art Murders" investigated by the latest David Bowie alter ego, detective Nathan Adler. Brian Eno came back on board as producer, and the jagged edges of "Outside" were suddenly making Bowie in tune with a whole new set of fans. Reznor's effect weighs in heavy on what was the album's first single, "The Heart's Filthy Lesson," which was also featured in the dark and similarly themed movie "Se7en." (Also curious that spiritual kin in film making David Lynch chose "I'm Deranged" for his similar trip into darkness "Lost Highway.")

Most of the songs are thematically linked by Adler's investigation into the ritual murder of "Baby Grace," but it's a bumpy ride to be sure. Bowie's immersion into the mid-90's subculture inhabited by the likes of performance artists (some real, some fictional) informs the liner notes as much as the music, and made for a pretty good read. Those segues sometimes subtracted from the songs, but at least it's nice to see that the music still holds up so well. If a lengthy tour of weirdness ala Bowie would be the kind of album you'd like to add to your collection, then this was the beginning of a creative wave for Bowie that has continued through the current "Reality."