David Bowie’s ‘Toy’: A Minor Footnote, Not a Lost Masterpiece

David Bowie’s Toy is a curiosity, not a revelation. Released in 2011, the album gathers remakes of songs he wrote in the mid-Sixties, before fame and reinvention took over his career. It is a trip down memory lane for Bowie himself, and for listeners, it offers a peek at the raw material that would later become Ziggy Stardust and beyond.

The record is a pleasant but minor footnote to his catalog. It is not a lost masterpiece. It is a record one might expect from an artist on the precipice of settling down — and that makes sense, since Bowie was doing exactly that at the time. The songs are competent, occasionally charming, and rarely more than that.

Uncle Floyd

The opener sets the tone. It is a gentle, acoustic piece that feels like a demo tape come to life. It is not a strong start, but it is unassuming enough to work as an introduction to the period.

Afraid and I Dig Everything

These two tracks sit together in the middle of the album’s first stretch. They are competent rock numbers with a slight Sixties swagger. Neither demands attention, but neither drags either.

Let Me Sleep Beside You

This is the standout of the early part of the record. It has a warm, intimate feel that suits the material well. It is a reminder that Bowie could write about romance without irony, even in his earliest days.

Toy (Your Turn to Drive)

The title track is a driving rocker that leans into the glam influences that would define his later work. It is one of the more energetic moments on the record, and it shows why these songs were worth revisiting.

Hole in the Ground

This is a solid, bluesy number that does not break new ground but holds its own. It is a safe bet, and it plays that role well.

Shadow Man

Here is the best song on the record. It is a moody, atmospheric piece that stands apart from the rest of the collection. It shows what Bowie could do with a melody when he let himself be serious.

Shadow Man was a bit of a trip down memory lane for Bowie himself.

Silly Boy Blue, Liza Jane and The London Boys

The remaining tracks round out the album’s second half. Silly Boy Blue stretches past five minutes and shows ambition in arrangement, though it does not quite land. Liza Jane is a pleasant, catchy tune that does not overstay its welcome. The London Boys ends the record on a spirited, celebratory note.

The album runs just over forty-eight minutes. That is a tight runtime for a record this slight. There is no filler, but there is also no fire.

Toy is a minor work from a major artist. It is a footnote, not a landmark. It is pleasant, occasionally interesting, and ultimately forgettable. Bowie’s career is full of far better records, and this one does not change that.

album review · classic rock · David Bowie · nostalgia · Sixties rock