http://www.youtube.com/watch?v=Tgcc5V9Hu3g David Bowie's second Berlin album would belong here on the strength of its title track alone. It is impossibly beautiful, a masterpiece of production. The quotation marks on the album cover suggest irony, but the power of Bowie's voice proves the song's sincerity. Producer Tony Visconti set up three microphones: one at Bowie's mouth, one 20 feet away, and another 50 feet away. As the song progresses, Bowie's vocals become more and more distant and desperate to be heard. With the title track the undeniable highlight, what of the rest of the album? The Eno-inflected ambient tracks are strong, with 'Sense of Doubt' evoking the darkness of 'Low''s second side, while 'Moss Garden' takes a tranquil, zen-like turn. Of his three Berlin albums, "Heroes" feels the one most anchored to the great city. Much like 'Low''s 'Weeping Wall', "Heroes" , when at its best, manages to conjure up an atmosphere torn between East and West. 'Neukoln', for example, uses Middle Eastern scales and instrumentation to evoke the alienation of Turkish immigrants in Berlin. The rest of the songs on the album are perfectly fine. The guitars in 'Joe the Lion' are exciting, and 'Beauty and the Beast' is a snazzy opener, but Bowie's mid-range vocals lack the weight which make, say, 'Low', so compelling. 'Sons of the Silent Age' comes close to reaching the level of "Heroes"' predecessor; it is one of Bowie's biggest growers, and is interestingly reminiscent of 'Diamond Dogs'. Ultimately, it is just about fair that "Heroes" is remembered best for its cover and its title track, but it really is a good album.