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Rock - Verschenen op 8 maart 2013 | Columbia

Hi-Res Onderscheidingen 3F de Télérama - 5 étoiles Rock and Folk - 5/6 de Magic - Sélection du Mercury Prize
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Pop - Verschenen op 4 juni 2012 | Parlophone UK

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Pop - Verschenen op 25 september 2015 | Parlophone UK

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 8 januari 2016 | Columbia

Hi-Res Booklet Onderscheidingen Pitchfork: Best New Music
Rumors were rife: Definitive hibernation or even incurable disease - and then no - David Bowie made a blazing comeback in 2013 with the album The Next Day. Hardly time to fully digest this record and Ziggy is back already with the fascinating Blackstar, his 25th studio album published the day of his 69th birthday! 48 hours later, the shock is total as we learned of the death of the artist, carried away by a cancer after struggling against the disease for 18 months ... With Blackstar, once again we are tempted to say, Bowie surprises and amazes with a bold, and rather protean, experimental work (sometimes harking back to the likes of Station To Station/Low). A beautiful musical UFO that he designed with brilliant jazzmen in New York (including Maria Schneider and her orchestra but also guitarist Ben Monder and saxophonist Donny McCaslin) without forgetting the loyal Tony Visconti, ever behind the console to produce this beautiful black star. The star today is Bowie. Up there. Eternal and obviously immortal ... © CM/Qobuz
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Rock - Verschenen op 30 juni 2008 | Parlophone UK

Onderscheidingen Sélection Disques de l'année Les Inrocks
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Rock - Verschenen op 14 april 1983 | Parlophone UK

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Rock - Verschenen op 28 augustus 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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Pop - Verschenen op 29 september 2017 | Parlophone UK

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Rock - Verschenen op 21 oktober 2002 | Parlophone UK

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Rock - Verschenen op 3 juli 2020 | Parlophone UK

Since his death on January 10th, 2016, David Bowie’s unreleased archives and essential live recordings have been rife. Recorded in the Starplex Theatre in Dallas on the 13th of October, 1995, during his Outside tour, Ouvrez Le Chien takes its title from the lyrics of All The Madmen from the album The Man Who Sold The World. In this concert, the Briton is surrounded by his faithful musicians of the time: Carlos Alomar on rhythm guitar, Reeves Gabrels on lead guitar, Gail Ann Dorsey on bass, Zachary Alford on drums, Peter Schwartz and Mike Garson on piano and synth. This was the Bowie era in which he didn’t hide his fascination for the Industrial scene led by groups such as Nine Inch Nails (who incidentally played support for these concerts). Such a fascination can indeed be heard on this record, especially in its garish guitar solos, stakhanovite rhythms and sweeping urban synths. This sound is applied to his then contemporary tracks (The Hearts Filthy Lesson, Outside, I Have Not Been to Oxford Town, I’m Deranged) as well as past hits (Andy Warhol, Breaking Glass, The Man Who Sold The World, Teenage Wildlife). There is an electric and rhythmic exuberance (the very full-on drumming can occasionally become tiresome) in this live recording that goes hand in hand with Bowie’s tendency for excess. An essential record for hardcore fans. © Marc Zisman/Qobuz 
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Pop - Verschenen op 25 september 2015 | Parlophone UK

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Pop - Verschenen op 29 september 2017 | Parlophone UK

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Rock - Verschenen op 6 november 2020 | Parlophone UK

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Pop - Verschenen op 29 september 2017 | Parlophone UK

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Pop - Verschenen op 15 april 2013 | Parlophone UK

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Rock - Verschenen op 30 november 2018 | Parlophone UK

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Bowie first stepped onto the Glastonbury stage in 1971. “As of 1990 I got through the rest of the 20th century without having to do a big hits show. Yes, yes I know I did four or five hits on the later shows but I held out pretty well I thought…big, well-known songs will litter the field at Glastonbury this year. Well, with a couple of quirks of course”, David Bowie wrote at the time. In the year 2000, the Thin White Duke made an unforgettable impression on the UK’s largest music festival. Indeed, his set-list comprising of 21 tracks is a testament to the extent of his legacy. It includes the favourites: Starman, China Girl, Heroes, The Man Who Sold The World, Let’s Dance, Life On Mars?, Changes, Under Pressure, but also some quirkier gems: Stay, Golden Years, Wild Is The Wind, and the leading track from Station to Station (1975), the unusual, melancholic album that Lester Bangs considered to be his masterpiece.  Performing on stage with his long mane of hair, his ¾ Alexander McQueen coat and his XXL charisma, Bowie is on fire. He is joined by guitarist Earl Slick who replaced Mick Ronson when the Spiders From Mars broke up in 1974 and who at the time was the mastermind behind Diamond Dogs and David Live, Bowie’s first live recording. A true wonder to behold. © Charlotte Saintoin/Qobuz
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Pop - Verschenen op 7 maart 1975 | Rhino

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Rock - Verschenen op 6 november 2020 | Parlophone UK

The Man Who Sold the World is either seen as the end of Bowie's formative era or the genesis of his evolution as a truly unique artist. While 1971's Hunky Dory is widely regarded as the first "classic" album in Bowie's catalog, the years leading up to it were so incredibly busy and productive for the musician, with moments of occasional greatness ("Space Oddity") occuring within a much larger batch of quite ordinary material. Between 1968 and 1970, Bowie would try out various permutations of baroque, acoustic pop and gloomy, semi-psychedelic hard rock, and by the time he presented the Metrobolist album to his record label (which then proceeded to change the title to The Man Who Sold the World, much to his chagrin), he had run himself ragged on the treadmill of promotional appearances, concerts, and traditional press interviews. Bowie was frustrated with his management, his label, his producer, and his creative output, and was ready for a change. Hunky Dory was absolutely that change, but the roots of that growth could definitely be heard on The Man Who Sold the World. Leaning hard into his rockist tendencies, the album was dark and heavy and decidedly devoid of the glam bounce that elevated similarly electrified later albums. Nobody dug it and despite early attempts by Bowie to promote it, the album was a commercial flop in the US and UK. Many of those attempts—primarily radio performances—are collated on The Width of a Circle. Appropriately dubbed as "complementary" to the recently revised version of The Man Who Sold the World (reissued under its original Metrobolist title), The Width of a Circle feels like a bit of a stretch as a standalone piece, rather than as, say, an additional couple of discs included in some super deluxe edition. Along with the radio sessions (many of which have been previously released on Bowie at the Beeb and elsewhere), there are a few single cuts and other ephemera; the material here feels more like it's been excavated rather than curated. A largely acoustic Bowie radio concert presented with middling fidelity takes up the first half of the set, and while it's great to hear a little awkward banter between Bowie and John Peel alongside some unique performances of songs that rarely made concert setlists, the audio issues and tape dropouts can be quite distracting. Things pick up in the second half with a clutch of quirky (and slightly better sounding) songs recorded for a radio play. One of those songs—"Threepenny Pierrot"—is a rewritten version of "London Bye, Ta Ta," one of the best unreleased Bowie songs from this era. It shows up here in three studio versions and all of them sound great. Beyond those highlights, this is very much a completists-only sort of release, both due to the wobbly audio quality on some of the tracks as well as the material itself. © Jason Ferguson/Qobuz
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Rock - Verschenen op 12 maart 2021 | Rhino - Parlophone

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Pop - Verschenen op 14 november 1969 | Parlophone UK

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Artiest

David Bowie in het magazine
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