In contrast to other reviews for this record I'd say "Heroes" is not to be seen as tracks weighted against each other. The record stands out on its own merit and its avant-guardish style is seldom seen in other works of Bowie, except perhaps in the recent "Outside" (also with Eno).

One can distinguish the record split into a part with vocal songs (tracks 1-5) and an instrumental part (tracks 6-9) followed by "the secret life of Arabia" which is rather a bridge to the next part of the trilogy "Lodger" which begins with the similar "fantastic voyage".

The instrumentals very well derive as extra-tracks from the soundtrack of "The Man Who Fell To Earth", Roeg's film in which Bowie starred the leading role a year before the release of "Heroes". The ambience and intensity of the music can hardly be attributed completely to Eno. Bowie himself when asked told he was highly influenced by early works of KRAFTWERK in making this part of the record.

As for the title song (or anthem rather) the connection with the Velvet Underground is more than evident (Bowie and Reed where soul mates at the time) with the piano riff being like an alternate take of VU's "White Light-White Heat" blended with Eno treatments. The result is breathtaking. Nico's later interpretation of the same song reveals the common vibes shared.

Credits must also be given to the personnel involved. Musicians of the magnitude of Fred Frith, Carlos Alomar among others and of course Eno in his most creative era tell the high musical output attained on all levels. One of the greatest and most influential works of Bowie, "Heroes" is indispensable.

As a whole this is a very strong album. It starts with the rather mediocre "Beauty & the Beast". Just when you think your in for a rather uninspired album, it kicks off with the second track, the storming (and quite batty) "Joe the Lion", things get even better with the classic "Heroes". Things get even better than that though, with "Sons of the Silent Age", one of my all time favourite Bowie songs (WHAT a chorus:). A few tracks later and we're into an ambient/instrumental section of tracks, which bleed one into another. The mood is slightly haunting. This was certainly extrememly progressive during its day (the late 70's) and the surprising thing is that it sounds fresh and not at all embarrasing today. The final track, "Secret Life of Arabia" is very enjoyable, and leads on logicaly to the next album "Lodger". All in all this is great stuff, strong throughout, and really grows on you with repeated listening!

This really is a seminal album. Almost thirty years later it still may be too heavy and uncomfortable for pop-pickers. Like Low, the B-side/second half is predominantly instrumental, but darken the room, dig out the head-phones and you will be rewarded.

The first half is a bunch of hugely powerful songs, in a strange way it is almost punky, infact ,at times, it is probably a bit harsher/rawer than most punk. I've just finished reading a book (Coming Out As A Bowie Fan In Leeds, Yorkshire, England) by a guy called Mick McCann, a wonderful, vibrant romp through the time in which this album was released. It is very a funny book about being a cross-dressing teenager in a hard place, it's strangely philosophical and very `gritty', it made me see the world slightly differently. Anyway he makes a few references to this album and in one, when talking about the title track, he says that listening to Heroes through a PA brings out a physical reaction, `Like wading through nettles in short pants.' I can't argue with that. `Sons Of The Silent Age' also does that for me, it gets me right in the chest.

This is a special album but it may, like that book, offend sensitive ears - Get me to the Doctor...

After Bowie's last two albums, "Station to Station" and a career high point of "Low", he had alot to live up to.

Thankfully he released "Heroes", a jarring, experimental mish mash of brilliant instramentals and haunting tunes. To be truthfull it will not be everyone's cup of tea; many of the songs are hard on the ear, and have some strange and frankly awful lyrics. However this adds to the album's charm, and makes it all the more fulfilling (that's Bowie for you). The instramentals are outstanding and, although not quite as good as the ones on "Low", make for wonderful audio landscapes (be sure to listen to with headphones for the full stereo experience). However the albums high point is of course the title track. It is truely uplifting and the music eclipses anything else on the album, and is possibly Bowie's best song.

This album is a definate for Bowie fans and anyone else looking for something different and challenging. "Heroes" stands up by itself next to the brillience of "Low".

After leaving glam-rock and Philly soul behind him, The Thin White Duke moved on to make three bleak, futuristic albums with Brian Eno. This is the best of those, one of his best ever, and one of THE great albums of all-time. The first half is song based, with even superb tunes such as "Joe the lion" being dwarfed by the colossus that is "Heroes"; the most beautiful, moving song of all time? Thereafter the album drifts into moody, disorientating (mainly) instrumentals such as "V2 Schneider" and "Moss Garden", groundbreaking for their time and still sounding fresh today.