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Aladdin Sane
David Bowie
Rock - Released April 13, 1973 | Parlophone UK
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Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.© Stephen Thomas Erlewine /TiVo
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ChangesTwoBowie
David Bowie
Rock - Released January 1, 1981 | Parlophone UK
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Changestwobowie, the follow-up to 1976's Changesonebowie, was released as David Bowie's RCA contract entered its final months, and a certain rancor began to permeate the relationship. The label did not even consult the star over the makeup of this collection, and the result is a strangely disjointed ragbag of tracks scraping through the past decade with little regard for either continuity or, perhaps surprisingly, the hits. Any cohesion that might be detected, then, tends to be in the eye of the beholder, although there's no denying that, with songs the quality of "Aladdin Sane" and "Oh You Pretty Things" onboard, there should be little room for rubbish. As with Changesonebowie, RCA appealed to collectors via the inclusion of one non-LP cut, in this case the 1975-era remake of "John, I'm Only Dancing" -- long legendary as an outtake, a single had finally appeared in 1979. Further attention was garnered after "Wild Is the Wind" was lifted as a single. With Bowie agreeing to cut a very striking promotional video to accompany it, this most un-Top 30-like ballad reached number 24 in the U.K.© Dave Thompson /TiVo
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Cracked Actor
David Bowie
Rock - Released April 22, 2017 | Parlophone UK
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First released on Record Store Day 2017, Cracked Actor has now had its official launch. Recorded in LA in September 1974, this live recording of the Philly Dogs tour includes many of the songs played on Alan Yentob's 1975 BBC documentary, Cracked Actor. The group accompanying the Thin White Duke (with one Luther Vandross on vocals!) is different from the one we see on David Live, the official live recording released in October 1974. On Cracked Actor, Carlos Alomar and Earl Slick take care of the guitars. Gregg Erico, who had escaped from Sly Stone's Family is on the drums, and David Sanborn is playing funky madness on the saxophone... Between the glam of the hirsute guitarists and the cold of the Berlin New Wave he concocted with Brian Eno, in the mid-70s, Bowie offered up an improbable and pleasant soul interlude. An enchanting and funky departure, which, thanks to the Slick/Alomar double-act, took on an even madder dimension on stage. © MZ/Qobuz
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ChangesNowBowie
David Bowie
Rock - Released April 17, 2020 | Rhino - Parlophone
On 9th January 1997, David Bowie celebrated his 50th birthday in style on stage in New York’s Madison Square Garden with Lou Reed, Robert Smith, Sonic Youth, Frank Black and a few other guests. Two months earlier, the Thin White Duke had rehearsed for the event with bassist Gail Ann Dorsey, guitarist Reeves Gabrels and keyboardist Mark Plati. Nine tracks from their rehearsals were recorded. The BBC broadcast them on the 8th January 1997 - the star’s birthday. And now they’re finally available on record: ChangesNowBowie. The album essentially consists of acoustic versions of songs from his huge repertoire. With great finesse and sensitivity, Bowie covers classics like The Man Who Sold The World, Quicksand and Aladdin Sane, as well as the slightly lesser-known tracks The Supermen (from The Man Who Sold The World), Repetition (from Lodger) and Shopping For Girls (from Tin Machine’s second album). There’s also an anxiety-inducing cover of White Light/White Heat by The Velvet Underground, where Gabrel’s guitar part is pyrotechnic. All throughout ChangesNowBowie it’s Bowie’s impeccable voice that hits you. On several tracks he even deigns to share his mic with Gail Ann Dorsey, a resident in Bowie’s band since his 1995 tour… This release is another wonderful testimony to add to the expansive discography of a constantly-evolving genius. © Marc Zisman/Qobuz
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Aladdin Sane
David Bowie
Rock - Released April 13, 1973 | Parlophone UK
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Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.© Stephen Thomas Erlewine /TiVo
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Moonage Daydream – A Brett Morgen Film
David Bowie
Rock - Released September 16, 2022 | Parlophone UK
The soundtrack to Brett Morgen's David Bowie film Moonage Daydream essentially offers the audio component of his movie, a two-hour-and-50-minute tapestry of exclusive edits, remixes, live performances, interview snippets and other oddities. Morgen meant the mix to be blasted at top volume, but even without the power of IMAX speakers -- or visuals, for that matter -- Moonage Daydream manages to convey the feeling of a journey through space, floating with no particular direction but with memorable mile markers. Here, the Buddah of Suburbia instrumental "Ian Fish U.K. Heir" acts as a connective tissue that threads together slightly altered versions of familiar songs and melodies along with unearthed live performances. Occasionally, the particulars are interesting -- Jeff Beck shreds on a live version of "The Jean Genie" where "Love Me Do" pops up during the jam -- but the emphasis is not on the individual tracks, it's on the whole, offering a specific and evocative (if not entirely thorough) portrait of Bowie that's enchanting and beguiling, especially for listeners already well-acquainted with the entirety of his catalog.© Stephen Thomas Erlewine /TiVo
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Aladdin Sane
David Bowie
Rock - Released April 13, 1973 | Parlophone UK
Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.© Stephen Thomas Erlewine /TiVo
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ChangesTwoBowie
David Bowie
Rock - Released January 1, 1981 | Parlophone UK
Hi-Res
Changestwobowie, the follow-up to 1976's Changesonebowie, was released as David Bowie's RCA contract entered its final months, and a certain rancor began to permeate the relationship. The label did not even consult the star over the makeup of this collection, and the result is a strangely disjointed ragbag of tracks scraping through the past decade with little regard for either continuity or, perhaps surprisingly, the hits. Any cohesion that might be detected, then, tends to be in the eye of the beholder, although there's no denying that, with songs the quality of "Aladdin Sane" and "Oh You Pretty Things" onboard, there should be little room for rubbish. As with Changesonebowie, RCA appealed to collectors via the inclusion of one non-LP cut, in this case the 1975-era remake of "John, I'm Only Dancing" -- long legendary as an outtake, a single had finally appeared in 1979. Further attention was garnered after "Wild Is the Wind" was lifted as a single. With Bowie agreeing to cut a very striking promotional video to accompany it, this most un-Top 30-like ballad reached number 24 in the U.K.© Dave Thompson /TiVo
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Pure Heroine
Lorde
Alternative & Indie - Released October 28, 2013 | Universal Records
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Signed to a major label at an early age, she was groomed in the darkness of studios, the label knowing the potential they had in their singer/songwriter. She wrote on her own, then she was paired with a sympathetic producer/songwriter, live performances taking a back seat to woodshedding. If this story in the early years of the 2010s brings to mind Lana Del Rey, it's no coincidence that it also applies to New Zealand singer/songwriter Lorde, whose 2013 debut, Pure Heroine, contains all of the stylized goth foreboding of LDR's Born to Die and almost none of the louche, languid glamour. This is not a small thing. Lana Del Rey is a self-created starlet willing herself into stardom but Lorde fancies herself a poet, churning away at the darker recesses of her soul. Some of this may be due to age. Lorde, as any pre-release review or portrait helpfully illustrated, was only 16 when she wrote and recorded Pure Heroine with producer Joel Little, and an adolescent aggrievance and angst certainly underpin the songs here. Lorde favors a tragic romanticism, an all-or-nothing melodrama that Little accentuates with his alternately moody and insistent productions. Where Lana Del Rey favors a studiously detached irony, Lorde pours it all out which, in itself, may be an act: her bedsit poetry is superficially more authentic but the music is certainly more pop, both in its construction -- there are big hooks in the choruses and verses -- and in the production, which accentuates a sad shimmer where everything is beautiful and broken. There is a topical appeal here, particularly because Lorde and Little do spend so much time on the surface, turning it into something seductive, but it is no more real than the studied detachment of Lana Del Rey, who Lorde so strongly (and intentionally) resembles. Born to Die is meant to be appreciated as slippery, elusive pop; Pure Heroine seems to hint at the truth...but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions.© Stephen Thomas Erlewine /TiVo
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Chaosphere
Meshuggah
Metal - Released November 9, 1998 | Atomic Fire
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When the likes of Cannibal Corpse and Obituary came about and pleased every butt-rocking wannabe Satanist out there, a term such as "intellectual death metal" was only thought of as just an oxymoron. That was before Meshuggah came out and outsmarted all these suburban burnouts. Sure "Chaosphere" flaunts the flaming guitar solo every now and then, and don't forget their tendency of trying to come across as all dark and evil. But what Meshuggah have over all the carbon copy death metal acts out there is that they focus primarily on knowing how to play their instruments and segue tempo changes rather than trying to outspeed and outgrowl everybody. Seriously, each song will have one guessing on which direction the band is going to take next. Who would have thought that there would be a band that could respark a genre that was long thought overdone after the second Napalm Death record?© Mike DaRonco /TiVo
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Songs 2013 - 2023
Ane Brun
Pop - Released May 12, 2023 | Universal Music AB
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The Far Field
Future Islands
Alternative & Indie - Released April 7, 2017 | 4AD
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Walt Disney Records The Legacy Collection: Aladdin
Alan Menken
Film Soundtracks - Released September 16, 2022 | Walt Disney Records
Booklet
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Lights
Archive
Trip Hop - Released May 15, 2006 | Dangervisit
Lights is the fifth record by British collective Archive. Picking up and expanding upon the trip-hop sound pioneered by the likes of Massive Attack and Portishead, Archive fashioned a career that made them popular in Continental Europe much more than back home and pretty much unknown in the rest of the world.© Sergey Mesenov /TiVo
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Bande Originale du Film "Django Unchained" (Quentin Tarantino, 2013)
Various Artists
Film Soundtracks - Released January 1, 2012 | Loma Vista
Booklet
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Crossroads Guitar Festival 2013 (Édition Studio Masters)
Eric Clapton
Rock - Released November 15, 2013 | Rhino - Warner Records
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Aladdin
Various Artists
Film Soundtracks - Released May 22, 2019 | Walt Disney Records
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Pure Heroine
Lorde
Alternative & Indie - Released October 28, 2013 | Universal Records
Hi-Res
Signed to a major label at an early age, she was groomed in the darkness of studios, the label knowing the potential they had in their singer/songwriter. She wrote on her own, then she was paired with a sympathetic producer/songwriter, live performances taking a back seat to woodshedding. If this story in the early years of the 2010s brings to mind Lana Del Rey, it's no coincidence that it also applies to New Zealand singer/songwriter Lorde, whose 2013 debut, Pure Heroine, contains all of the stylized goth foreboding of LDR's Born to Die and almost none of the louche, languid glamour. This is not a small thing. Lana Del Rey is a self-created starlet willing herself into stardom but Lorde fancies herself a poet, churning away at the darker recesses of her soul. Some of this may be due to age. Lorde, as any pre-release review or portrait helpfully illustrated, was only 16 when she wrote and recorded Pure Heroine with producer Joel Little, and an adolescent aggrievance and angst certainly underpin the songs here. Lorde favors a tragic romanticism, an all-or-nothing melodrama that Little accentuates with his alternately moody and insistent productions. Where Lana Del Rey favors a studiously detached irony, Lorde pours it all out which, in itself, may be an act: her bedsit poetry is superficially more authentic but the music is certainly more pop, both in its construction -- there are big hooks in the choruses and verses -- and in the production, which accentuates a sad shimmer where everything is beautiful and broken. There is a topical appeal here, particularly because Lorde and Little do spend so much time on the surface, turning it into something seductive, but it is no more real than the studied detachment of Lana Del Rey, who Lorde so strongly (and intentionally) resembles. Born to Die is meant to be appreciated as slippery, elusive pop; Pure Heroine seems to hint at the truth...but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions.© Stephen Thomas Erlewine /TiVo
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Retired from Sad, New Career in Business
Mitski
Alternative & Indie - Released August 1, 2013 | Good Harbor
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
By default, search results are sorted in order of relevance. The drop-down menu to the right of "Sort by" allows you to display the results in the desired order.