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Rock - Released November 11, 2016 | Rhino

Not the first posthumous compilation from David Bowie -- that would be the lavish box Who Can I Be Now? (1974-1976), which was planned prior to his January 10, 2016 death -- Legacy is nevertheless the first designed with his, well, legacy in mind. That much can be gleaned from the title of the compilation, but that's a bit of a feint since this set essentially repackages the simplest incarnation of a previous Bowie hits compilation, 2014's Nothing Has Changed. Legacy is available as a single and a double-disc, both carrying sequencings that mirror those on Nothing Has Changed (and both featuring a new mix of "Life on Mars?"). On the single disc, the first 12 songs are the same, then the back sequence is different, discarding "Absolute Beginners" and "Hallo Spaceboy" and concluding with "Where Are We Now?" and "Lazarus." Similarly, the double-disc has a nearly identical sequencing on its first disc -- "Ashes to Ashes" and "Fashion" are swapped -- with the differences arriving in the comp's final six songs, so Heathen's "Everyone Says Hi" is here, and this concludes with "Lazarus" and "I Can't Give Everything Away." In both cases, the Legacy sequencing is slightly better than that on Nothing Has Changed, since it winds up ending on the elegiac note that Bowie gave Blackstar. Still, it's splitting hairs: the 2016 and 2014 compilations are similar to each other, and they're also similar to the many Bowie comps that came before, and they're all just as likely to satisfy and pique interest. © Stephen Thomas Erlewine /TiVo
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HI-RESkr171.49
CDkr148.59

Rock - Released March 7, 1975 | Rhino

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David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album -- it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul. What does hurt the record is a lack of strong songwriting. "Young Americans" is a masterpiece, and "Fame" has a beat funky enough that James Brown ripped it off, but only a handful of cuts ("Win," "Fascination," "Somebody Up There Likes Me") comes close to matching their quality. As a result, Young Americans is more enjoyable as a stylistic adventure than as a substantive record. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 23, 1976 | Rhino

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From
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Rock - Released January 23, 1976 | Rhino

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CDkr207.49

Rock - Released November 25, 2016 | Rhino

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CDkr207.49

Rock - Released April 20, 2018 | Rhino

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After completing Low and Heroes, the first two albums of his Berlin trilogy, David Bowie spent most of 1978 touring the world. During this huge tour, baptised as Isolar II, he sang in front of a million people across 70 concerts in 12 countries! The star was free from his addiction problems which up until then had seen him go on stage only after having ingested astronomical quantities of cocaine… Recorded in April and May 1978 and released in September the same year, the live Stage album showed a Bowie in full transition, struggling with his glam beginnings, his soul music future and his present new wave. First published for the occasion of the Record Store Days in April 2018, Welcome To The Blackout (Live London'78) also captures this period. Recorded at Earls Court in London on June 30th and July 1st 1979 by Tony Visconti, this is a previously unreleased double live album offering more energetic versions than those on stage. The fascinating tracks from Low and Heroes lose some of their eccentricity on stage. And the “old hits” like Rebel Rebel and Ziggy Stardust gain in luxury what they lose in violence, even if on Suffragette City the singer does seem totally possessed. Finally, the lead guitarist Adrian Belew and rhythmic guitarist Carlos Alomar knit together stunning interventions to accompany the Thin White Duke. An unmissable document for Bowie fans. © Marc Zisman/Qobuz
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HI-RESkr171.49
CDkr148.59

Rock - Released March 7, 1975 | Rhino

Hi-Res
David Bowie had dropped hints during the Diamond Dogs tour that he was moving toward R&B, but the full-blown blue-eyed soul of Young Americans came as a shock. Surrounding himself with first-rate sessionmen, Bowie comes up with a set of songs that approximate the sound of Philly soul and disco, yet remain detached from their inspirations; even at his most passionate, Bowie sounds like a commentator, as if the entire album was a genre exercise. Nevertheless, the distance doesn't hurt the album -- it gives the record its own distinctive flavor, and its plastic, robotic soul helped inform generations of synthetic British soul. What does hurt the record is a lack of strong songwriting. "Young Americans" is a masterpiece, and "Fame" has a beat funky enough that James Brown ripped it off, but only a handful of cuts ("Win," "Fascination," "Somebody Up There Likes Me") comes close to matching their quality. As a result, Young Americans is more enjoyable as a stylistic adventure than as a substantive record. © Stephen Thomas Erlewine /TiVo
From
CDkr207.49

Rock - Released April 20, 2018 | Rhino

After completing Low and Heroes, the first two albums of his Berlin trilogy, David Bowie spent most of 1978 touring the world. During this huge tour, baptised as Isolar II, he sang in front of a million people across 70 concerts in 12 countries! The star was free from his addiction problems which up until then had seen him go on stage only after having ingested astronomical quantities of cocaine… Recorded in April and May 1978 and released in September the same year, the live Stage album showed a Bowie in full transition, struggling with his glam beginnings, his soul music future and his present new wave. First published for the occasion of the Record Store Days in April 2018, Welcome To The Blackout (Live London'78) also captures this period. Recorded at Earls Court in London on June 30th and July 1st 1979 by Tony Visconti, this is a previously unreleased double live album offering more energetic versions than those on stage. The fascinating tracks from Low and Heroes lose some of their eccentricity on stage. And the “old hits” like Rebel Rebel and Ziggy Stardust gain in luxury what they lose in violence, even if on Suffragette City the singer does seem totally possessed. Finally, the lead guitarist Adrian Belew and rhythmic guitarist Carlos Alomar knit together stunning interventions to accompany the Thin White Duke. An unmissable document for Bowie fans. © Marc Zisman/Qobuz
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CDkr22.29

Rock - Released March 20, 2020 | Rhino

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Rock - Released December 2, 2003 | Rhino

From
CDkr22.29

Rock - Released December 2, 2003 | Rhino

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CDkr22.29

Rock - Released January 1, 2002 | Rhino

From
CDkr148.59

Rock - Released November 11, 2016 | Rhino

Not the first posthumous compilation from David Bowie -- that would be the lavish box Who Can I Be Now? (1974-1976), which was planned prior to his January 10, 2016 death -- Legacy is nevertheless the first designed with his, well, legacy in mind. That much can be gleaned from the title of the compilation, but that's a bit of a feint since this set essentially repackages the simplest incarnation of a previous Bowie hits compilation, 2014's Nothing Has Changed. Legacy is available as a single and a double-disc, both carrying sequencings that mirror those on Nothing Has Changed (and both featuring a new mix of "Life on Mars?"). On the single disc, the first 12 songs are the same, then the back sequence is different, discarding "Absolute Beginners" and "Hallo Spaceboy" and concluding with "Where Are We Now?" and "Lazarus." Similarly, the double-disc has a nearly identical sequencing on its first disc -- "Ashes to Ashes" and "Fashion" are swapped -- with the differences arriving in the comp's final six songs, so Heathen's "Everyone Says Hi" is here, and this concludes with "Lazarus" and "I Can't Give Everything Away." In both cases, the Legacy sequencing is slightly better than that on Nothing Has Changed, since it winds up ending on the elegiac note that Bowie gave Blackstar. Still, it's splitting hairs: the 2016 and 2014 compilations are similar to each other, and they're also similar to the many Bowie comps that came before, and they're all just as likely to satisfy and pique interest. © Stephen Thomas Erlewine /TiVo

Artist

David Bowie in the magazine
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