The article argues that David Bowie saw his 1993 album *The Buddha of Suburbia* as the beginning of what he considered his finest later-period work. It presents the record as an overlooked turning point rather than a minor soundtrack, suggesting it mattered because it anticipated the more adventurous run of albums that followed and helped reframe Bowie’s 1990s output as creatively important.

It explains that the album grew out of Bowie’s work on the BBC adaptation of Hanif Kureishi’s *The Buddha of Suburbia*, but evolved into a broader and more experimental project. Released in November 1993, it was poorly marketed, treated as a soundtrack and reached only No. 87 in the UK albums chart, which helped send it into obscurity despite positive reviews. The piece also notes that Bowie later called it his favourite album and points to tracks such as “Strangers When We Meet” and the title song as evidence of the style and ambition that would shape his subsequent records.