《Scary Monsters》仍然是一张在主流和个人风格之间折衷的专辑，但是David开始使用合成器和失真的吉他效果，制造出新鲜的感觉，而且这张专辑有他早期的模糊与诡异——David已经好久没有写古怪歌词了。 by Stephen Thomas Erlewine David Bowie returned to relatively conventional rock & roll with Scary Monsters, an album that effectively acts as an encapsulation of all his '70s experiments. Reworking glam rock themes with avant-garde synth flourishes, and reversing the process as well, Bowie creates dense but accessible music throughout Scary Monsters. Though it doesn't have the vision of his other classic records, it wasn't designed to break new ground -- it was created as the culmination of Bowie's experimental genre-shifting of the '70s. As a result, Scary Monsters is Bowie's last great album. While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s. [Rykodisc's 1992 reissue includes re-recorded versions of "Space Oddity" and "Panic in Detroit," the Japanese single "Crystal Japan," and the British single "Alabama Song."]