So, Scary Monsters was one ending. It took Bowie back down to Earth, even though he still sounded like nobody else; it was lurid and vibrant and emotional all at once; it filtered his past through a new present and crafted a wholly contemporary sound. Maybe it’s too contrarian to argue for it as the best Bowie album, even with its feel of an imagined greatest hits collection. But Scary Monsters is where everything coexisted and still mutated further. It was the album that best captured everything Bowie was about — and it will always be the conduit through which everything travelled, all of his old selves folded in and carried forward through the rest of his life.