David Bowie | Space Oddity | The Man Who Sold the World | Hunky Dory
The Rise and Fall of Ziggy Stardust and the Spiders from Mars | Aladdin Sane | Pin Ups | Diamond Dogs | Young Americans
Station to Station | Low | "Heroes" | Lodger | Scary Monsters (And Super Creeps) | Let's Dance | Tonight | Never Let Me Down
Tin Machine | Black Tie White Noise | The Buddha of Suburbia | Outside | Earthling | 'hours...' | Heathen | Reality | 'hours...'
The Next Day | ★ | Changesonebowie
- Black Sheep Hit: "Golden Years", which was released as a single preceding Station to Station, is very different than the rest of the album; it was originally meant for Elvis Presley and consequently carries on in the "plastic soul" style of Young Americans.
- Creator Backlash: Bowie really regretted his time as the Thin White Duke due to the Lost in Character problems that came from it, along with the cocaine addiction that made it worse. It's also what prompted Bowie to drop the idea of making characters for albums and to detox in Berlin, which lead to the famous Berlin Trilogy.
- Creator Breakdown: As stated on the main page, Bowie was in the midst of a serious cocaine binge while recording the album and remembered almost nothing about recording it later. The accompanying tour for the album saw Bowie get Lost in Character as the Thin White Duke and making statements sympathetic to fascism, which was pretty much the polar opposite of his actual political views. It was at this point Bowie realised he needed to clean up his act; he moved to Berlin (because it was difficult to get cocaine there, and he had no interest in the city's massive heroin market) and detoxed.
- Cut Song: A Cover Version of Bruce Springsteen's "It's Hard to Be a Saint in the City" was recorded during the Station to Station sessions, but was left off the finished album (which, incidentally featured E Street Band member Roy Bittan on keyboards). It would ultimately be included on the 1989 retrospective Boxed Set Sound + Vision.
- Limited Special Collector's Ultimate Edition: In 2010 — the Special Edition included a new flat transfer from the original master tape, plus an additional two discs containing his much-bootlegged Nassau Coliseum concert from 1976. The Deluxe Edition meanwhile tosses in an additional two CDs (a repressing of the 1984 European RCA CD, misdated to 1985, and a collection of single edits), a DVD with a new surround sound mix, three LPs for the original album and the concert, and from there such items as replicas of the tour's press kit, the official fan club folder, etc. from this period. All for an album that has a less-than-40-minute runtime and six songs.
- Rarely Performed Song: "TVC 15" was one of six songs to permanently leave Bowie's setlists following the 1990 Sound + Vision tour.
- Reality Subtext: The title track references cocaine, which Bowie was abusing heavily in real life, to the point where he remembered very little of making the album and contributing to his erratic public behavior at the same time.
- Referenced by...:
- The film Christiane F. features Christiane visiting a Bowie concert, where Bowie performs the title track from this album.
- Fall Out Boy used named one of their songs after a line from the title track here: "It's Not a Side Effect of the Cocaine, I Am Thinking It Must Be Love" from My Heart Will Always Be the B-Side to My Tongue (2004).
- Kraftwerk's "Trans-Europe Express" has a similar synthesized train sound in the title track, and name-checks David Bowie:Station to station back to Dusseldorf city
Meet Iggy Pop and David Bowie - Joy Division's "The Eternal" also opens with synthesized train sounds, similar to the title track.
- The album name is referenced in Red Hot Chili Peppers's "Californication".
- Melvins recorded a Cover Version of the Title Track on their Cover Album Everybody Loves Sausages, with J.G. Thirlwell joining them on lead vocals.
- What Could Have Been: Bowie initially offered "Golden Years" to RCA labelmate Elvis Presley, having written it at the suggestion of Presley's manager, Colonel Tom Parker. However, the idea fell through — accounts vary as to whether Presley turned it down or if negotiations with Parker simply stalled — leading Bowie to record it himself for this album.
