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David Bowie - David Bowie (aka Space Oddity) [2015 Remastered Version]

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David Bowie (aka Space Oddity) [2015 Remastered Version]

David Bowie

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Langue disponible : anglais

When David Bowie's second album appeared in late 1969, he was riding high. His first ever hit single, the super-topical "Space Oddity," had scored on the back of the moon landing that summer, and so distinctive an air did it possess that, for a moment, its maker really did seem capable of soaring as high as Major Tom. Sadly, it was not to be. "Space Oddity" aside, Bowie possessed very little in the way of commercial songs, and the ensuing album (his second) emerged as a dense, even rambling, excursion through the folky strains that were the last glimmering of British psychedelia. Indeed, the album's most crucial cut, the lengthy "Cygnet Committee," was nothing less than a discourse on the death of hippiness, shot through with such bitterness and bile that it remains one of Bowie's all-time most important numbers -- not to mention his most prescient. The verse that unknowingly name-checks both the Sex Pistols ("the guns of love") and the Damned is nothing if not a distillation of everything that brought punk to its knees a full nine years later. The remainder of the album struggles to match the sheer vivacity of "Cygnet Committee," although "Unwashed and Slightly Dazed" comes close to packing a disheveled rock punch, all the more so as it bleeds into a half minute or so of Bowie wailing "Don't Sit Down" -- an element that, mystifyingly, was hacked from the 1972 reissue of the album. "Janine" and "An Occasional Dream" are pure '60s balladry, and "God Knows I'm Good" takes a well-meant but somewhat clumsy stab at social comment. Two final tracks, however, can be said to pinpoint elements of Bowie's own future. The folk epic "Wild Eyed Boy from Freecloud" (substantially reworked from the B-side of the hit) would remain in Bowie's live set until as late as 1973, while a re-recorded version of the mantric "Memory of a Free Festival" would become a single the following year, and marked Bowie's first studio collaboration with guitarist Mick Ronson. The album itself however, proved another dead end in a career that was gradually piling up an awful lot of such things. ~ Dave Thompson

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David Bowie (aka Space Oddity) [2015 Remastered Version]

David Bowie

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1
Space Oddity (2015 Remaster) 00:05:18

Terry Cox, Drums - Herbie Flowers, Bass - Rick Wakeman, Mellotron - Ray Staff, Remastering Engineer - Gus Dudgeon, Producer - David Bowie, Acoustic Guitar, Keyboards, Vocals, Writer, MainArtist - Ken Scott, Engineer - Mick Wayne, Guitar - Malcolm Toft, Engineer - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 1969, 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

2
Unwashed and Somewhat Slightly Dazed (2015 Remaster) 00:06:52

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Guitar - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Barry Sheffield, Engineer - Benny Marshall, Harmonica

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

3
Letter to Hermione (2015 Remaster) 00:02:36

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger - Ken Scott, Engineer - Malcolm Toft, Engineer - Keith Christmas, Acoustic Guitar - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

4
Cygnet Committee (2015 Remaster) 00:09:39

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Guitar - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

5
Janine (2015 Remaster) 00:03:25

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Percussion, Vocals, MainArtist - Tony Visconti, Producer, Arranger - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Guitar - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Keith Christmas, Acoustic Guitar - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

6
An Occasional Dream (2015 Remaster) 00:03:00

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger, Flute, Recorder - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Flute, Guitar, Recorder - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Keith Christmas, Acoustic Guitar - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

7
Wild Eyed Boy from Freecloud (2015 Remaster) 00:04:53

Paul Buckmaster, Bass - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger - Ken Scott, Engineer - John Lodge, Bass - Malcolm Toft, Engineer - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

8
God Knows I'm Good (2015 Remaster) 00:03:22

Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Vocals, MainArtist - Tony Visconti, Producer, Arranger, Bass - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Guitar - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Keith Christmas, Acoustic Guitar - Barry Sheffield, Engineer

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

9
Memory of a Free Festival (2015 Remaster) 00:07:10

Bob Harris, Backing Vocals - MARC BOLAN, Backing Vocals - Ray Staff, Remastering Engineer - David Bowie, Composer, Arranger, Acoustic Guitar, Organ, Backing Vocals, MainArtist - Tony Visconti, Producer - Ken Scott, Engineer - John Lodge, Bass - Tim Renwick, Guitar - Mick Wayne, Guitar - John Cambridge, Drums - Malcolm Toft, Engineer - Keith Christmas, Acoustic Guitar - Barry Sheffield, Engineer - Sue Harris, Backing Vocals - Tony Woollcott, Backing Vocals

2015 Jones/Tintoretto Entertainment Co, LLC 2015 Jones/Tintoretto Entertainment Company LLC under exclusive licence to Parlophone Records Ltd, a Warner Music Group Company

Descriptif de l'album

When David Bowie's second album appeared in late 1969, he was riding high. His first ever hit single, the super-topical "Space Oddity," had scored on the back of the moon landing that summer, and so distinctive an air did it possess that, for a moment, its maker really did seem capable of soaring as high as Major Tom. Sadly, it was not to be. "Space Oddity" aside, Bowie possessed very little in the way of commercial songs, and the ensuing album (his second) emerged as a dense, even rambling, excursion through the folky strains that were the last glimmering of British psychedelia. Indeed, the album's most crucial cut, the lengthy "Cygnet Committee," was nothing less than a discourse on the death of hippiness, shot through with such bitterness and bile that it remains one of Bowie's all-time most important numbers -- not to mention his most prescient. The verse that unknowingly name-checks both the Sex Pistols ("the guns of love") and the Damned is nothing if not a distillation of everything that brought punk to its knees a full nine years later. The remainder of the album struggles to match the sheer vivacity of "Cygnet Committee," although "Unwashed and Slightly Dazed" comes close to packing a disheveled rock punch, all the more so as it bleeds into a half minute or so of Bowie wailing "Don't Sit Down" -- an element that, mystifyingly, was hacked from the 1972 reissue of the album. "Janine" and "An Occasional Dream" are pure '60s balladry, and "God Knows I'm Good" takes a well-meant but somewhat clumsy stab at social comment. Two final tracks, however, can be said to pinpoint elements of Bowie's own future. The folk epic "Wild Eyed Boy from Freecloud" (substantially reworked from the B-side of the hit) would remain in Bowie's live set until as late as 1973, while a re-recorded version of the mantric "Memory of a Free Festival" would become a single the following year, and marked Bowie's first studio collaboration with guitarist Mick Ronson. The album itself however, proved another dead end in a career that was gradually piling up an awful lot of such things. ~ Dave Thompson

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