History Music / Outside

The album also marks a cautious reconciliation with Creator/{{EMI}} for Bowie, who had left the label in 1990 over their hesitation towards his stint in Tin Machine. After his previous US distributor, Savage Records, went belly-up while promoting ''Music/BlackTieWhiteNoise'', Bowie signed onto EMI subsidiary Creator/VirginRecords for US distribution of ''Outside'' (while its immediate predecessor, ''Music/TheBuddhaOfSuburbia'', was also released on Virgin in the US, that didn't come out in the States until one month ''after'' this album). Bowie would stick with Virgin as his US distributor throughout the rest of the decade, permitting them and EMI to also handle the 1999 remastering campaign of his 1969-1989 back-catalog in all regions, eventually leaving the EMI group a second time in 2001 following the shelving of ''Toy''.

* InTheStyleOf: Bowie described the album version of "Hallo Spaceboy" as Music/TheDoors mixed with HeavyMetal.

* YouMakeMeSic: "The Hearts Filthy Lesson" intentionally excludes an apostrophe from "heart's."

* ALoadOfBull: One of the {{mad artist}}s pictured in the booklet is known only as "The Minotaur" and conceals his face beneath an elaborate bull head mask. Bowie wears a similar mask in the video for the album's first single, "The Hearts Filthy Lesson", in which a cabal of other bizarre artists create a minotaur of their own (as Bowie explained in an interview; he was also a painter in RealLife and created several works featuring minotaurs).

The album also marks a cautious reconciliation with Creator/{{EMI}} for Bowie, who had left the label in 1990 over their hesitation towards his stint in Tin Machine. After his previous US distributor, Savage Records, went belly-up while promoting ''Music/BlackTieWhiteNoise'', Bowie signed onto EMI subsidiary Creator/VirginRecords for US distribution of ''Outside'', starting with this album (while its immediate predecessor, ''Music/TheBuddhaOfSuburbia'', was also released on Virgin in the US, that didn't come out in the States until one month ''after'' this album). Bowie would stick with Virgin as his US distributor throughout the rest of the decade, permitting them and EMI to also handle the 1999 remastering campaign of his 1969-1989 back-catalog in all regions, eventually leaving the EMI group a second time in 2001 following the shelving of ''Toy''.

The album also marks a cautious reconciliation with Creator/{{EMI}} for Bowie, who had left the label in 1990 over their hesitation towards his stint in Tin Machine. Bowie signed onto EMI subsidiary Creator/VirginRecords for US distribution, starting with this album (while the earlier ''Music/TheBuddhaOfSuburbia'' was also released on Virgin in the US, that didn't come out in the States until one month ''after'' this album). Bowie would stick with Virgin as his US distributor throughout the rest of the decade, permitting them and EMI to also handle the 1999 remastering campaign of his 1969-1989 back-catalog in all regions, eventually leaving the EMI group a second time in 2001 following the shelving of ''Toy''.

# "Leon Takes Us Outside" (1:25)[[note]]0:24 on ''Excerpts from Outside''[[/note]]

# "The Hearts Filthy Lesson" (4:57)
# "A Small Plot of Land" (6:34)
# "Segue – Baby Grace (A Horrid Cassette)" (1:39)
# "Hallo Spaceboy" (5:14)
# "The Motel" (6:49)[[note]]5:03 on ''Excerpts from Outside''[[/note]]
# "I Have Not Been to Oxford Town" (3:47)
# "No Control" (4:33)*
# "Segue – Algeria Touchshriek" (2:03)*
# "The Voyeur of Utter Destruction (as Beauty)" (4:21)
# "Segue – Ramona A. Stone/I Am with Name" (4:01)
# "Wishful Beginnings" (5:08)*
# "We Prick You" (4:33)
# "Segue – Nathan Adler" (1:00)
# "I'm Deranged" (4:31)
# "Thru' These Architects' Eyes" (4:22)*
# "Segue – Nathan Adler" (0:28)*
# "Strangers When We Meet" (5:07)*

* ShownTheirWork: The Bowie-penned short story that makes up the bulk of the liner notes for ''1. Outside'' not only establishes the album's storyline and characters, but also weaves in stories of the grisly "precursors" of the art-crime movement. These are mostly RealLife 20th century artists of the TrueArtIsIncomprehensible school, and often particularly grisly ones at that: Hermann Nitsch, Chris Burden, Damien Hirst, Ron Athey, and Guy Bourdin; Burden had previously inspired the ''Music/HeroesDavidBowieAlbum'' song "Joe the Lion".

* TheExoticDetective: Detective Professor Nathan Adler of Art-Crime Inc. in ''1. Outside'': It's his job to not only investigate grisly "art-crimes" to find out who done 'em, but also determine whether they actually qualify as works of art or not. ("Art's a farmyard. It's my job to pick thru the manure heap looking for peppercorns.") He has aspects of the HardboiledDetective -- he wears a trenchcoat and fedora, and has a world-weary, growling voice in his spoken-word segues -- but is far more erudite and intellectual.

* {{Feelies}}: The limited-edition CD single release of "The Hearts Filthy Lesson" came on a shaped disc designed after Nathan Alder's head (as seen in the liner notes).

* EvilLaugh: Forms part of the music for "Wishful Beginnings".

* NewSoundAlbum: {{Industrial}} rock and electronic.

* PoliticallyIncorrectVillain: While her relationship to Baby Grace's murder is never confirmed, Ramona A. Stone is established as an antagonistic figure in "Segue - Baby Grace (A Horrid Cassette)". Her own part in "Segue - Ramona A. Stone/I Am With Name" features her both describing dreams about "ape men with metal parts" and complaining about "the funny colored English," with the juxtaposition of the latter two implying that she holds anti-black views.

# "(Segue) – Baby Grace (A Horrid Cassette)" (1:39)

# "(Segue) – Algeria Touchshriek" (2:03)*

# "(Segue) – Ramona A. Stone/I Am with Name" (4:01)

# "(Segue) – Nathan Adler" (1:00)

# "(Segue) – Nathan Adler" (0:28)*

* ALoadOfBull: One of the {{mad artist|s}} pictured in the booklet is known only as "The Minotaur" and conceals his face beneath an elaborate bull head mask. Bowie wears a similar mask in the video for the album's first single, "The Hearts Filthy Lesson", in which a cabal of other bizarre artists create a minotaur of their own (as Bowie explained in an interview; he was also a painter in RealLife and created several works featuring minotaurs).

* DeathSong: Well, Death ''Album'' in this case.

* ALoadOfBull: One of the [[MadArtist mad artists]] pictured in the booklet is known only as "The Minotaur" and conceals his face beneath an elaborate bull head mask. Bowie wears a similar mask in the video for the album's first single, "The Hearts Filthy Lesson", in which a cabal of other bizarre artists create a minotaur of their own (as Bowie explained in an interview; he was also a painter in RealLife and created several works featuring minotaurs).

* DarkerAndEdgier: One of the darkest albums in Bowie's discography.

* {{Gorn}}: The album's liner notes open with a sickeningly-detailed description of Baby Grace's murder and mutilation, and feature an image of a mutilated "art crime" corpse midway through.
-->"The arms of the victim were pin-cushioned with 16 hypodermic needles, pumping in four major preservatives, colouring agents, memory transport fluids and some kind of green stuff. From the last and 17th, all blood and liquid was extracted. The stomach area was carefully flapped open and the intestines removed, disentangled and re-knitted as it were, into a small net or web and hung between the pillars of the murder-location, the grand damp doorway of Oxford Town Museum of Modern Parts, New Jersey. The limbs of Baby were then severed from the torso. Each limb was implanted with a small, highly sophisticated, binary-code translator which in turn was connected to small speakers attached to far ends of each limb. The self-contained mini amplifiers were then activated, amplifying the decoded memory info-transport substances, revealing themselves as little clue haikus, small verses detailing memories of other brutal acts, well-documented by the [=ROMbloids=]. The limbs and their components were then hung upon the splayed web, slug-like prey of some unimaginable creature. The torso, by means of its bottom-most orifice, had been placed on a small support fastened to a marble base. It was shown to varying degrees of success depending on where one stood from behind the web but in front of the museum door itself, acting as both signifier and guardian to the act. It was definitely murder -- but was it art?"

* ALoadOfBull: One of the [[MadArtist mad artists]] pictured in the booklet is known only as "The Minotaur" and conceals his face beneath an elaborate bull head mask. Bowie wears a similar mask in the video for the album's first single, "The Hearts Filthy Lesson", in which a cabal of other bizarre artists create a minotaur of their own (as Bowie explained in an interview. He was also a painter in RealLife and created several works featuring minotaurs).

* OrphanedSeries: The album was supposed to have two follow-ups continuing the story, but they were ultimately abandoned in favor of simply exploring the base themes further on his later 90's albums.

* RearrangeTheSong: "Strangers When We Meet" originally appeared on ''Music/TheBuddhaOfSuburbia'' before being re-recorded and released as a single from this album.

The album is considered a continuation of Bowie's CareerResurrection that started with ''Music/BlackTieWhiteNoise'' and spawned three singles: "The Hearts Filthy Lesson", "Strangers When We Meet" (itself a re-recording of a track from ''Music/TheBuddhaOfSuburbia''), and "Hallo Spaceboy", the latter of which was remixed by the Music/PetShopBoys and incorporated into the [[Characters/DavidBowie Major Tom]] saga. Among those who aren't fans of ''Black Tie White Noise'', this album is almost unanimously considered Bowie's artistic comeback, and those who do enjoy ''Black Tie White Noise'' see it as an even further improvement. The album was also a decent commercial success, peaking at No. 8 on the UK Albums chart and No. 21 on the Billboard 200, and was certified silver by the BPI; however, compared to ''Black Tie White Noise'', it performed considerably more modestly. That said, it still did well enough to further Bowie's commercial comeback in addition to galvanizing his critical resurgence, helping him become a truly mainstream artist again for the first time since the 80's, and with a more experimental and artistically flexible sound that put him back in step with his 70's output. While the remainder of Bowie's 90's output would be more contentious than ''Outside'', few would deny that the 90's marked a silver age for the man-- if not a second golden age-- that he successfully maintained up until his death in 2016.

The album spawned three singles: "The Hearts Filthy Lesson", "Strangers When We Meet" (itself a re-recording of a track from ''Music/TheBuddhaOfSuburbia''), and "Hallo Spaceboy", the latter of which was remixed by the Music/PetShopBoys and incorporated into the [[Characters/DavidBowie Major Tom]] saga.

The album is considered a continuation of Bowie's CareerResurrection that started with ''Music/BlackTieWhiteNoise'' and spawned three singles: "The Hearts Filthy Lesson", "Strangers When We Meet" (itself a re-recording of a track from ''Music/TheBuddhaOfSuburbia''), and "Hallo Spaceboy", the latter of which was remixed by the Music/PetShopBoys and incorporated into the [[Characters/DavidBowie Major Tom]] saga. Among those who aren't fans of ''Black Tie White Noise'', this album is almost unanimously considered Bowie's artistic comeback, and those who do enjoy ''Black Tie White Noise'' see it as an even further improvement. The album was also a decent commercial success, peaking at No. 8 on the UK Albums chart and No. 21 on the Billboard 200, and was certified silver by the BPI; however, compared to ''Black Tie White Noise'', it performed considerably more modestly. That said, it still did well enough to further Bowie's commercial comeback in addition to galvanizing his critical resurgence, helping him become a truly mainstream artist again for the first time since the 80's, and with a more experimental and artistically flexible sound that put him back in step with his 70's output. While the remainder of Bowie's 90's output would be more contentious than ''Outside'', few would deny that the 90's marked a silver age for the man-- if not a second golden age-- that he successfully maintained up until his death in 2016.

''Outside'' (also known as ''1. Outside'') is the twentieth studio album by Music/DavidBowie, released in 1995. This album also sees Bowie reunite with Music/BrianEno for the first time since ''Music/{{Lodger}}'' in 1979, and unlike the Berlin Trilogy, on which he served as a collaborator rather than a producer (as is commonly mis-believed), Eno actually ''did'' take over production duties this time around, marking the first and last time he ever outright produced a Bowie album. The album marks [[NewSoundAlbum yet another shift in sound and style]] for Bowie, this time switching over to a blend of {{industrial}} rock and art rock influenced heavily by Music/NineInchNails (to the extent where he toured with NIN and became personally acquainted with Trent Reznor while supporting the album). The album also marks a cautious reconciliation with Creator/{{EMI}} for Bowie, who had left the label in 1990 over their hesitation towards his stint in Tin Machine. Bowie signed onto EMI subsidiary Creator/VirginRecords for US distribution, starting with this album (while the earlier ''Music/TheBuddhaOfSuburbia'' was also released on Virgin in the US, that didn't come out in the States until one month ''after'' this album). Bowie would stick with Virgin as his US distributor throughout the rest of the decade, permitting them and EMI to also handle the 1999 remastering campaign of his 1969-1989 back-catalog in all regions, eventually leaving the EMI group a second time in 2001 following the shelving of ''Toy''.

-->"The arms of the victim were pin-cushoned with 16 hypodermic needles, pumping in four major preservatives, colouring agents, memory transport fluids and some kind of green stuff. From the last and 17th, all blood and liquid was extracted. The stomach area was carefully flapped open and the intestines removed, disentangled and re-knitted as it were, into a small net or web and hung between the pillars of the murder-location, the grand damp doorway of Oxford Town Museum of Modern Parts, New Jersey. The limbs of Baby were then severed from the torso. Each limb was implanted with a small, highly sophisticated, binary-code translator which in turn was connected to small speakers attached to far ends of each limb. The self-contained mini amplifiers were then activated, amplifying the decoded memory info-transport substances, revealing themselves as little clue haikus, small verses detailing memories of other brutal acts, well-documented by the [=ROMbloids=]. The limbs and their components were then hung upon the splayed web, slug-like prey of some unimaginable creature. The torso, by means of its bottom-most orifice, had been placed on a small support fastened to a marble base. It was shown to varying degrees of success depending on where one stood from behind the web but in front of the museum door itself, acting as both signifier and guardian to the act. It was definitely murder -- but was it art?"

* NewSoundAlbum: Industrial rock and electronic.

* ShoutOut: A sample from a [[Music/{{Queen}} Brian May]] concert is played near the end of "Segue - Ramona A. Stone/I Am With Name".

* SlasherSmile: [[https://luxatarnia.files.wordpress.com/2015/03/bowie.png Definitely helps to stand next to a dismembered corpse too]].

* WordSaladLyrics

Bowie planned for the album to be the album to be the first of a trio of [[ConceptAlbum concept albums]] (the second would have been called ''2. Contamination''), but Bowie ultimately [[WhatCouldHaveBeen scrapped the other two records]] [[StillbornFranchise and left the story unfinished]]. However, the themes of the album would continue to be explored on its follow-ups, ''Music/{{Earthling}}'' and ''Music/{{Hours}}'', with a lingering influence that stretches all the way to ''Music/BlackstarAlbum''.

[[caption-width-right:350:''"Do you like girls or boys? It's confusing these days..."'']]

The album is considered a continuation of Bowie's CareerResurrection that started with ''Music/BlackTieWhiteNoise'' and spawned three singles: "The Hearts Filthy Lesson", "Strangers When We Meet" (itself a re-recording of a track from ''Music/TheBuddhaOfSuburbia''), and "Hallo Spaceboy", the latter of which was remixed by the Music/PetShopBoys and incorporated into the [[Characters/DavidBowie Major Tom]] saga. Among those who aren't fans of ''Black Tie White Noise'', this album is almost unanimously considered Bowie's artistic comeback, and those who do enjoy ''Black Tie White Noise'' see it as an even further improvement.

''Outside'' (also known as ''1. Outside'') is the twentieth studio album by Music/DavidBowie, released in 1995. This album also sees Bowie reunite with Music/BrianEno for the first time since ''Music/{{Lodger}}'' in 1979, and unlike the Berlin Trilogy, on which he served as a collaborator rather than a producer (as is commonly mis-believed), Eno actually ''did'' take over production duties this time around, marking the first and last time he ever outright produced a Bowie album. The album marks [[NewSoundAlbum yet another shift in sound and style]] for Bowie, this time switching over to a blend of {{industrial}} rock and art rock influenced heavily by Music/NineInchNails (to the extent where he toured with NIN and became personally acquainted with Trent Reznor while supporting the album).

''Outside'' (also known as ''1. Outside'') is the twentieth studio album by Music/DavidBowie, released in 1995. This album also sees Bowie reunite with Music/BrianEno for the first time since ''Music/{{Lodger}}'' in 1979, and unlike the Berlin Trilogy, on which he served as a collaborator rather than a producer (as is commonly mis-believed), Eno actually ''did'' take over production duties this time around. The album marks [[NewSoundAlbum yet another shift in sound and style]] for Bowie, this time switching over to a blend of {{industrial}} rock and art rock influenced heavily by Music/NineInchNails (to the extent where he toured with NIN and became personally acquainted with Trent Reznor while supporting the album).

* EpicRocking: "The Motel" at 6:51, "A Small Plot of Land" at 6:34. The album itself is also notable for its length; at 74:36, it is the longest studio album Bowie ever put out; Bowie later regretted its length and suggested in interviews that it would've been more digestible as a double album (as in, keeping the tracklist identical but splitting it across two [=CDs=] even though it can fit snugly on just one).

* ALoadOfBull: One of the [[MadArtist mad artists]] pictured in the booklet is known only as "The Minotaur" and conceals his face beneath an elaborate bull head mask. Bowie wears a similar mask in the video for the album's first single, "The Hearts Filthy Lesson", in which a cabal of other bizarre artists create a minotaur of their own (as Bowie explained in an interview. He's also a painter in RealLife and has created several works featuring minotaurs).

* OrphanedSeries: Was supposed to have two follow-ups.

* RockOpera: Despite its highly nonlinear and enigmatic structure, this album is far more specific about its storyline and characters than his other concept albums.
* SanitySlippageSong: "I'm Deranged"

* SpokenWordInMusic: Aside from the segues, this is used quite a bit in "The Hearts Filthy Lesson"

* ShownTheirWork: The Bowie-penned short story that makes up the bulk of the liner notes for ''1. Outside'' not only establishes the album's storyline and characters, but also weaves in stories of the grisly "precursors" of the art-crime movement. These are mostly RealLife 20th century artists of the TrueArtIsIncomprehensible school, and often particularly grisly ones at that: Hermann Nitsch, Chris Burden, Damien Hirst, Ron Athey, and Guy Bourdin; Burden had previously inspired the ''Music/HereoesDavidBowieAlbum'' song "Joe the Lion".

''Outside'' (also known as ''1. Outside'') is the twentieth studio album by Music/DavidBowie, released in 1995. This album also sees Bowie reunite with Music/BrianEno for the first time since ''Music/{{Lodger}}'' in 1979. The album marks [[NewSoundAlbum yet another shift in sound and style]] for Bowie, this time switching over to a blend of {{industrial}} rock and art rock influenced heavily by Music/NineInchNails (to the extent where he toured with NIN and became personally acquainted with Trent Reznor while supporting the album).

[-*Absent on ''Excerpts from Outside''-]

* ReCut: The initial LP release of the album in 1995 was as a single-disc truncated version named ''Excerpts from Outside'', which cut out six tracks[[note]]"No Control", "Segue - Algeria Touchshriek ", "Wishful Beginnings", "Thru' These Architect's Eyes", the second "Segue - Nathan Alder", and "Strangers When We Meet"[[/note]] and shortened both "Leon Takes Us Outside" and "The Motel" considerably. Partly as a result of this, while side A on cassette copies ends with "No Control" (and CD copies don't have "sides" to begin with), side A on ''Excerpts'' ends at "Hallo Spaceboy". It wouldn't be until 2019 when the full album would be released on vinyl, as a double-LP, and even then the CD release is still treated as the definitive version (if only because it gets far more mileage out of the format than the cassette and LP releases do in regards to their respective formats).

* ShownTheirWork: The Bowie-penned short story that makes up the bulk of the liner notes for ''1. Outside'' not only establishes the album's storyline and characters, but also weaves in stories of the grisly "precursors" of the art-crime movement. These are mostly RealLife 20th century artists of the TrueArtIsIncomprehensible school, and often particularly grisly ones at that: Hermann Nitsch, Chris Burden, Damien Hirst, Ron Athey, and Guy Bourdin. (Burden had previously inspired the ''"Heroes"'' song "Joe the Lion".)

''Outside'' (also known as ''1. Outside'') is the twentieth studio album by Music/DavidBowie, released in 1995. This album also sees Bowie reunite with Music/BrianEno for the first time since ''Music/{{Lodger}}'' in 1979.

Set TwentyMinutesIntoTheFuture in 1999, a new art craze is sweeping the world - the [[Main/{{Gorn}} murdering and mutilation of human bodies]]. Known as "Art Crime", Detective Professor Nathan Adler has been tasked by the government to investigate the phenomenon.

The album is considered a continuation of Bowie's CareerResurrection that started with ''Music/BlackTieWhiteNoise'' and spawned three singles: "The Hearts Filthy Lesson", "Strangers When We Meet" (itself a re-recording of a track from ''Music/TheBuddhaOfSuburbia''), and "Hallo Spaceboy", the latter of which was remixed by the Music/PetShopBoys and incorporated into the [[Characters/DavidBowie Major Tom]] saga.

Bowie planned for the album to be the album to be the first of a trio of [[ConceptAlbum concept albums]] (the second would have been called ''2. Contamination''), but Bowie ultimately [[WhatCouldHaveBeen scrapped the other two records]] and left the story unfinished.

# "Leon Takes Us Outside" (1:25)

# "The Motel" (6:49)

# "No Control" (4:33)
# "(Segue) – Algeria Touchshriek" (2:03)

# "Wishful Beginnings" (5:08)

# "Thru' These Architects' Eyes" (4:22)
# "(Segue) – Nathan Adler" (0:28)
# "Strangers When We Meet" (5:07)

* RockOpera: More specific about its storyline and characters than his other concept albums.