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[[WMG:[[center:[-Music/DavidBowie '''[[YMMV/DavidBowie Main YMMV Page]]'''\\
''YMMV/{{David Bowie|1967}}'' | ''YMMV/SpaceOddity'' | ''YMMV/TheManWhoSoldTheWorld'' | ''YMMV/HunkyDory''\\
''YMMV/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars'' | ''YMMV/AladdinSane'' | ''YMMV/PinUps'' | ''YMMV/DiamondDogs'' | ''YMMV/{{Young Americans|1975}}''\\
''YMMV/StationToStation'' | ''YMMV/{{Low|DavidBowieAlbum}}'' | '''''"Heroes"''''' | ''YMMV/{{Lodger}}'' | ''YMMV/ScaryMonstersAndSuperCreeps'' | ''YMMV/LetsDance'' | ''YMMV/{{Tonight}}'' | ''YMMV/NeverLetMeDown''\\
''YMMV/{{Tin Machine|Album}}'' | ''YMMV/BlackTieWhiteNoise'' | ''YMMV/TheBuddhaOfSuburbia'' | ''YMMV/{{Outside}}'' | ''YMMV/{{Earthling}}'' | ''[[YMMV/HoursDavidBowieAlbum 'hours...']]'' | ''YMMV/TheNextDay'' | ''YMMV/BlackstarAlbum''\\
''YMMV/{{Changesonebowie}}''-]]]]]
''YMMV/{{David Bowie|1967}}'' | ''YMMV/SpaceOddity'' | ''YMMV/TheManWhoSoldTheWorld'' | ''YMMV/HunkyDory''\\
''YMMV/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars'' | ''YMMV/AladdinSane'' | ''YMMV/PinUps'' | ''YMMV/DiamondDogs'' | ''YMMV/{{Young Americans|1975}}''\\
''YMMV/StationToStation'' | ''YMMV/{{Low|DavidBowieAlbum}}'' | '''''"Heroes"''''' | ''YMMV/{{Lodger}}'' | ''YMMV/ScaryMonstersAndSuperCreeps'' | ''YMMV/LetsDance'' | ''YMMV/{{Tonight}}'' | ''YMMV/NeverLetMeDown''\\
''YMMV/{{Tin Machine|Album}}'' | ''YMMV/BlackTieWhiteNoise'' | ''YMMV/TheBuddhaOfSuburbia'' | ''YMMV/{{Outside}}'' | ''YMMV/{{Earthling}}'' | ''[[YMMV/HoursDavidBowieAlbum 'hours...']]'' | ''YMMV/TheNextDay'' | ''YMMV/BlackstarAlbum''\\
''YMMV/{{Changesonebowie}}''-]]]]]
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* VindicatedByHistory: While the album itself has always been a critical darling, the ''title track'' hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong. It being a regular among Bowie's live performances (to the point where he picked it as part of his woefully short repertoire at Live Aid in 1985) certainly helped. Like its predecessor, the album was a major influence on PostPunk and PostRock.
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* VindicatedByHistory: While the album itself has always been a critical darling, the ''title track'' hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong. It being a regular among Bowie's live performances (to the point where he picked it as part of his woefully short repertoire at Live Aid in 1985) certainly helped. Like its predecessor, the album was a major influence on PostPunk PostPunk, AlternativeRock, and PostRock.
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Removing per cleanup thread
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* BigLippedAlligatorMoment: A lot of fans complain that "The Secret Life of Arabia" is too silly to fit with the rest of the album, and many of those who do enjoy it agree that it was an odd choice for a closing track, feeling it would've worked better earlier in the album.
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* VindicatedByHistory: While the album itself has always been a critical darling, the ''title track'' hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong. It being a regular among Bowie's live performances (to the point where he picked it as part of his woefully short repertoire at Live Aid in 1985) certainly helped.
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* VindicatedByHistory: While the album itself has always been a critical darling, the ''title track'' hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong. It being a regular among Bowie's live performances (to the point where he picked it as part of his woefully short repertoire at Live Aid in 1985) certainly helped. Like its predecessor, the album was a major influence on PostPunk and PostRock.
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* EnsembleDarkHorse: As with ''Music/LowDavidBowieAlbum'' before it, ''"Heroes"'' maintains a considerable subset of fans who consider it a better candidate for Bowie's finest album than ''Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars''.
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* EnsembleDarkHorse: As with ''Music/LowDavidBowieAlbum'' ''Music/{{Low|DavidBowieAlbum}}'' before it, ''"Heroes"'' maintains a considerable subset of fans who consider it a better candidate for Bowie's finest album than ''Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars''.
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* UnintentionalPeriodPiece: The TitleTrack makes reference to "the wall" and the guards stationed there, a readily apparent reference to the UsefulNotes/BerlinWall, by which Bowie saw producer Tony Visconti embracing a woman he was having an affair with. The wall ultimately came down 22 years later in November of 1989.
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* EnsembleDarkhorse: As with ''Music/LowDavidBowieAlbum'' before it, ''"Heroes"'' maintains a considerable subset of fans who consider it a better candidate for Bowie's finest album than ''Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars''.
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* EnsembleDarkhorse: EnsembleDarkHorse: As with ''Music/LowDavidBowieAlbum'' before it, ''"Heroes"'' maintains a considerable subset of fans who consider it a better candidate for Bowie's finest album than ''Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars''.
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* SecondVerseCurse: The title track suffers an odd case of this; the single release starts on the third verse ("I... I wish you could swim..."), rather than the first, and live performances often cut out the second in favor of jumping straight from one to three. Because of this, most people tend to be unaware of the ''actual'' second verse, and even the first in some cases, which is somewhat of a shame given that the first verse's DarkReprise near the end of the song is maintained in the single release and live versions.
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* SecondVerseCurse: The title track suffers an odd case of this; the single release starts on the third verse ("I... ("I, I wish you could swim..."), rather than the first, and live performances often cut out the second in favor of jumping straight from one to three. Because of this, most people tend to be unaware of the ''actual'' second verse, and even the first in some cases, which is somewhat of a shame given that the first verse's DarkReprise near the end of the song is maintained in the single release and live versions.
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* EnsembleDarkhorse: As with ''Music/LowDavidBowieAlbum'' before it, ''"Heroes"'' maintains a considerable subset of fans who consider it a better candidate for Bowie's finest album than ''Music/TheRiseAndFallOfZiggyStardustAndTheSpidersFromMars''.
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* BigLippedAlligatorMoment: A lot of fans complain that "The Secret Life of Arabia" is too silly to fit with the rest of the album.
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* BigLippedAlligatorMoment: A lot of fans complain that "The Secret Life of Arabia" is too silly to fit with the rest of the album, and many of those who do enjoy it agree that it was an odd choice for a closing track, feeling it would've worked better earlier in the album.
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None
Added line(s) 3 (click to see context) :
* SecondVerseCurse: The title track suffers an odd case of this; the single release starts on the third verse ("I... I wish you could swim..."), rather than the first, and live performances often cut out the second in favor of jumping straight from one to three. Because of this, most people tend to be unaware of the ''actual'' second verse, and even the first in some cases, which is somewhat of a shame given that the first verse's DarkReprise near the end of the song is maintained in the single release and live versions.
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* VindicatedByHistory: The title track hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong.
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* VindicatedByHistory: The title track While the album itself has always been a critical darling, the ''title track'' hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong.SignatureSong. It being a regular among Bowie's live performances (to the point where he picked it as part of his woefully short repertoire at Live Aid in 1985) certainly helped.
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* VindicatedByHistory: The title track hardly made a splash when it was first released as a single; nowadays it's considered one of the best songs of the 1970's and an arguable candidate for Bowie's SignatureSong.
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* SignatureSong: The title track has become one of Bowie's best-known tunes.
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* BigLippedAlligatorMoment: A lot of fans complain that "The Secret Life of Arabia" is too silly to fit with the rest of the album.
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