Scary Monsters (and Super Creeps)

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Scary Monsters (and Super Creeps)
Studio album by
Released12 September 1980
RecordedFebruary–April 1980
StudioThe Power Station, New York City
Good Earth Studios, London[1]
LabelRCA Records
David Bowie chronology
Scary Monsters (and Super Creeps)
Let's Dance
Singles from Scary Monsters (and Super Creeps)
  1. "Ashes to Ashes" b/w "Move On"
    Released: 8 August 1980
  2. "Fashion" b/w "Scream Like a Baby"
    Released: 12 September 1980
  3. "Scary Monsters (and Super Creeps)" b/w "Because You're Young"
    Released: 2 January 1981
  4. "Up the Hill Backwards" b/w "Crystal Japan"
    Released: March 1981

Scary Monsters (and Super Creeps), also known simply as Scary Monsters, is the 14th studio album by David Bowie, released on 12 September 1980 by RCA Records. It was Bowie's final studio album on the label and his first following the Berlin Trilogy of Low, "Heroes" and Lodger (1977–1979). Though considered very significant in artistic terms, the trilogy had proven less successful commercially.[2] With Scary Monsters, Bowie achieved what biographer David Buckley called "the perfect balance" of creativity and mainstream success;[3] as well as earning critical acclaim, the album peaked at No. 1 and went Platinum in the UK while successfully restoring Bowie's commercial standing in the US.[4][5]

Although the album is commonly referred to as Scary Monsters (and Super Creeps), in keeping with the song title, and the album title as written on the front and back covers of the LP is Scary Monsters . . . . . and Super Creeps, the album is identified simply as Scary Monsters on the LP spine and disc label.


According to co-producer Tony Visconti, David Bowie's method on Scary Monsters was somewhat less experimental and more concerned with achieving a commercially viable sound than had been the case with his recent releases; to that end the composer spent more time on his own developing lyrics and melodies before recording, rather than improvising music in the studio and making up words at the last minute.[3] Aside from one cover, Tom Verlaine's "Kingdom Come", all tracks would be credited to Bowie alone, unlike the 'Berlin Trilogy' where there was an increasing amount of input from his collaborators.[5]

Among those collaborators, Brian Eno was no longer present on Scary Monsters, but Chuck Hammer added multiple textural layers deploying guitar synth and, following his absence from Lodger, Robert Fripp returned with the distinctive guitar sound he had earlier lent to "Heroes". Bruce Springsteen's pianist Roy Bittan was back for his first Bowie album since Station to Station five years earlier, while the Who's Pete Townshend guested on "Because You're Young".[5] This would be the fifth and last Bowie album featuring the rhythm section of Dennis Davis, Carlos Alomar and George Murray, which had been together since Station to Station.[6]


Bowie continued to develop songs using non-traditional methods: for "It's No Game (No. 1)", he challenged guitarist Fripp to "imagine he was playing a guitar duel with B.B. King where he had to out-B.B. B.B., but do it in his own way."[7]

"We were doing either 'Up the Hill Backwards' or 'It's No Game', and I said, 'Any suggestions?'" Fripp recalled. "And David replied, "Ritchie Blackmore!" Because David isn't really a guitarist, he couldn't give me more of a ground plan than that, but I knew what he meant."[8]

"Fashion" began as "Jamaica". Unable to think of anything to write, Bowie discarded the song until late in the recording cycle, when it was transformed into the song that appears on the album. Other tracks also began with different names: "Ashes to Ashes" as "People Are Turning to Gold", "Teenage Wildlife" as "It Happens Everyday" and "Scream Like a Baby" as "Laser" (the lyric "Scream like a baby" was sung as "I am a laser"). "Laser" was originally written in 1973, recorded by Ava Cherry and the Astronettes (made up of Bowie collaborators Ava Cherry and Geoff MacCormack), and demoed by Bowie during the sessions for "Young Americans" in 1975. "Is There Life After Marriage?" was fully written and recorded for the album, but, for unknown reasons, never released.[9] "I Feel Free" (by Cream) was recorded "in rough mix", but did not appear on a Bowie album until a rerecording for 1993's Black Tie White Noise.

Style and themes[edit]

The public's first taste of Scary Monsters was "Ashes to Ashes", which was released as a single one month prior to the album and made No. 1 in the UK. Built around a guitar synth theme by Chuck Hammer, it revisited the character of Major Tom from Bowie's early hit "Space Oddity". Aside from its critical and commercial success as a song, the accompanying music video set a benchmark for the art form.[10]

Notwithstanding the lush textures of "Ashes to Ashes", Bowie's sound on the album was described by critics as being harsher—and his worldview more desperate—than anything he had released since Diamond Dogs (1974).[5] This was exemplified by such tracks as "It's No Game (No. 1)", the hard-rocking opener featuring lead female vocals in Japanese; the careering title track with its prominent percussion effects and Bowie's cockney accent; the second single "Fashion", which seemed to draw parallels between style and politics and which had its own highly regarded video;[5] and "Scream Like a Baby", a tale of political imprisonment.[5]

In "Teenage Wildlife", against a musical backdrop that owed much to his song "Heroes", Bowie was variously thought to be taking aim squarely at new wave artists such as Gary Numan,[3] or reflecting on his younger self:[5]

A broken-nosed mogul are you
One of the new wave boys
Same old thing in brand new drag
Comes sweeping into view
As ugly as a teenage millionaire
Pretending it's a whiz-kid world


The rear sleeve contained references to four of Bowie's earlier albums.

The cover artwork of Scary Monsters is a collage by Edward Bell featuring Bowie in the Pierrot costume worn in the "Ashes to Ashes" music video, along with Brian Duffy photographs. The original vinyl album's rear sleeve referred to four earlier albums, namely the immediately preceding 'Berlin Trilogy' and 1973's Aladdin Sane, the latter also having been designed and photographed by Duffy. The cover images from Low, "Heroes", and Lodger—the last showing Bowie's torso superimposed on the figure from Aladdin Sane's inside gatefold picture—were portrayed in small frames to the left of the track listing. Their whitewashed brushstrokes was reportedly designed "to symbolise the discarding of Bowie's old personae."[11] These images were not reproduced on the Rykodisc reissue in 1992, but were restored for EMI/Virgin's 1999 remastered edition. The original framed album artwork was featured in the David Bowie Is touring museum exhibit.[12]

Singles and other songs[edit]

Following the release of "Ashes to Ashes" in August 1980, prior to the album, and "Fashion" in October, the title track was issued as a single in January 1981 in both vinyl record and compact cassette form. The album's final single, "Up the Hill Backwards", was released in March of that year. Other songs from this period, released on CD by Rykodisc, included both sides of the single "Alabama Song" b/w "Space Oddity", the latter a stark remake that debuted New Year's Eve 1979 on The Kenny Everett Video Show and served as a "ritualistic purification"[5] of Bowie's most famous number prior to its demolition with "Ashes to Ashes"; "Crystal Japan", B-side of "Up the Hill Backwards" in the UK and an A-side b/w "Alabama Song" in Japan, where it was also used for a Sake commercial;[5] and a new version of Aladdin Sane's "Panic in Detroit".

Release and legacy[edit]

Professional ratings
Review scores
AllMusic5/5 stars[13]
Blender5/5 stars[14]
Chicago Tribune3.5/4 stars[15]
Christgau's Record GuideB+[16]
Encyclopedia of Popular Music4/5 stars[17]
Q5/5 stars[18]
Record Mirror7/5 stars[3]
The Rolling Stone Album Guide4.5/5 stars[19]
Smash Hits9/10[20]
Spin4/5 stars[21]

RCA released Scary Monsters in September 1980 with the promo line "Often Copied, Never Equalled", seen as a direct reference to the New Wave acts Bowie had inspired over the years.[3] It was highly praised by critics, Record Mirror giving it a rating of seven stars out of five,[3] while Melody Maker called it "an eerily impressive stride into the '80s" and Billboard reported that it "should be the most accessible and commercially successful Bowie LP in years".[22] The album's No. 1 placing in the UK charts was Bowie's first since Diamond Dogs in 1974, while its US peak of No. 12 was his highest stateside showing since Low almost four years earlier.[23]

Despite the worldwide megastardom and commercial success that Bowie would achieve in coming years, most notably with his next studio album Let's Dance in 1983, many commentators consider Scary Monsters to be "his last great album",[13] the "benchmark" for each new release.[3] Well-regarded later efforts such as Outside,[24] Earthling,[25] Heathen and Reality were cited as "the best album since Scary Monsters."[26] In the latest edition of his musical biography of the singer, Strange Fascination, David Buckley suggested that "Bowie should pre-emptively sticker up his next album 'Best Since Scary Monsters' and have done with it".[27]

In 2000 Q magazine ranked Scary Monsters at No. 30 in its list of the 100 Greatest British Albums Ever. In 2002 Pitchfork Media placed it No. 93 in its Top 100 Albums of the 1980s.[28] In 2012, Slant Magazine listed the album at No. 27 on its list of "Best Albums of the 1980s" saying "Bowie bridles the experimentation of his Berlin trilogy and channels those synth flourishes and off-kilter guitar licks into one of the decade's quirkiest pop albums."[29] In 2013, NME ranked the album at number 381 in its list of The 500 Greatest Albums of All Time.[30] In 2018 Pitchfork Media placed it at No. 53 in its revised Top 200 Albums of the 1980s.[31]

Track listing[edit]

All songs written by David Bowie, except where noted.

Side One
1."It's No Game (No. 1)"Bowie, trans. Hisahi Miura4:20
2."Up the Hill Backwards" 3:15
3."Scary Monsters (And Super Creeps)" 5:12
4."Ashes to Ashes" 4:25
5."Fashion" 4:49
Side Two
1."Teenage Wildlife" 6:56
2."Scream Like a Baby" 3:35
3."Kingdom Come"Tom Verlaine3:45
4."Because You're Young" 4:54
5."It's No Game (No. 2)" 4:22
  • Sides one and two were combined as tracks 1–10 on CD reissues.


The album has been rereleased five times to date on compact disc. It was first released on CD by RCA Records in the mid-1980s. A second CD release, in 1992 by Rykodisc and EMI Records, contained four bonus tracks. A 1999 CD release by EMI/Virgin, with no bonus tracks, featured 24-bit digitally-remastered sound. The album was rereleased in 2003 by EMI as a Super Audio CD. In 2017, the album was remastered for the A New Career in a New Town (1977–1982) box set released by Parlophone.[32] It was released in CD, vinyl, and digital formats, as part of this compilation and then separately the following year.[33]

1992 reissue bonus tracks
11."Space Oddity" (Single B-side, rerecorded acoustic version, 1979)  4:47
12."Panic in Detroit" (Rerecorded version, 1979, previously unreleased)  3:00
13."Crystal Japan" (Japanese single A-side, 1979)instrumental 3:08
14."Alabama Song" (UK single A-side, recorded 1978)Bertolt Brecht, trans. Elisabeth HauptmannKurt Weill3:51


Additional musicians[edit]

  • Chuck Hammerguitar synthesizer on "Ashes to Ashes" and "Teenage Wildlife"
  • Robert Fripp – lead guitars on "Fashion", "It's No Game", "Scary Monsters (And Super Creeps)", "Kingdom Come", "Up the Hill Backwards", and "Teenage Wildlife"
  • Roy Bittan – piano on "Teenage Wildlife", "Ashes to Ashes" and "Up the Hill Backwards"
  • Andy Clark – synthesizer on "Fashion", "Scream Like a Baby", "Ashes to Ashes" and "Because You're Young"
  • Pete Townshend – guitar on "Because You're Young"
  • Tony Viscontiacoustic guitar on "Scary Monsters (And Super Creeps)" and "Up the Hill Backwards", backing vocals
  • Lynn Maitland – backing vocals
  • Chris Porter – backing vocals
  • Michi Hirota – voice on "It's No Game (No. 1)"


  • David Bowie, Tony Visconti – production and engineering
  • Larry Alexander, Jeff Hendrickson – engineering assistance
  • Peter Mew, Nigel Reeve – mastering



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