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Rock - Released February 7, 2020 | Parlophone UK

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Rock - Released November 1, 2019 | Parlophone UK

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Dance - Released November 1, 2019 | Parlophone UK

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Dance - Released October 4, 2019 | Parlophone UK

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Pop - Released September 27, 2019 | Parlophone UK

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Pop - Released August 30, 2019 | Parlophone UK

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Dance - Released August 19, 2019 | Parlophone UK

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Rock - Released August 16, 2019 | Parlophone UK

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Rock - Released August 16, 2019 | Parlophone UK

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Pop - Released August 16, 2019 | Parlophone UK

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Rock - Released August 16, 2019 | Parlophone UK

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Rock - Released August 16, 2019 | Parlophone UK

No matter how much time passes, it's unlikely that David Bowie will ever be forgiven for Glass Spider, the super-ambitious tour that accompanied the release of his 1987 Never Let Me Down album, and which still stands among rock's most pointlessly extravagant gestures, an outing of such theater and delicate choreography that it took only one gust of wind, or one squeal of feedback, to reduce it to farce. Or so the critics said. This recounting of a typical live show, however, places the entire affair into a considerably less accusatory context, as a sharp set list wanders across Bowie's career-long landscape and, if the excerpts from the new album do still grate ("Day in Day Out" must be one of his worst ever compositions), there's also a sharp eye for the underplayed jewels. Of course, things do get a little pat as the recording moves into the closing straight, and "Let's Dance," "Blue Jean," and "Modern Love" chime out with all their stadium-filling bombast, but there's a lot more to the album than that, and it really does add up to one of Bowie's most unfairly underrated exercises. ~ Dave Thompson
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Pop - Released August 16, 2019 | Parlophone UK

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Dance - Released August 9, 2019 | Parlophone UK

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Rap/Hip-Hop - Released July 29, 2019 | Parlophone UK

Pop - Released July 5, 2019 | Parlophone UK

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The Mercury Demos collects the ten songs David Bowie recorded with John "Hutch" Hutchinson in the spring of 1969 with the intent of snagging a contract with the record label. At the time of recording, Bowie was a bit adrift, left without a recording deal after he failed to hit the big time at Deram. His folk trio with Hutchinson and Hermione Farthingale had become a duo once he split with Farthingale, and he didn't have many other label options since he struck out at most imprints in the U.K. Fortunately, he was on a creative upswing, armed with the lovely "Letter to Hermione," the delicate "Conversation Piece," the softly majestic "Janine," and "Space Oddity," the song that would become his calling card. Some of these songs had been in the works for a while -- they can be heard on Spying Through a Keyhole and The Clareville Grove Demos, cumbersome sets of 7" singles that also chronicle other bedroom demos from 1968 and 1969 -- but "Space Oddity" has gained greater shape here and it's paired with sharper originals, along with a cover of Lesley Duncan's "Love Song" which Elton John would later popularize on Tumbleweed Connection. All of the performances are ingratiatingly unaffected: Bowie and Hutchinson laugh, make nervous jokes, and sing earnestly, a combination that's quite endearing. Because the duo sound so amateurish, listening to The Mercury Demos feels like eavesdropping -- and while that's appealing, it's also hard to deny that the album isn't quite revelatory. It's a demo tape, deliberately rough and functional, the kind of thing designed to spark interest from professionals but not meant for public listening. That The Mercury Demos was released officially -- in an absurdly lavish box set filled with tchotchkes, no less -- is a testament to Bowie's enduring legacy, a legacy that effectively started once Mercury heard this tape and signed him to a record contract. ~ Stephen Thomas Erlewine

Rock - Released June 28, 2019 | Parlophone UK

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Pop - Released June 28, 2019 | Parlophone UK

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Dance - Released June 28, 2019 | Parlophone UK

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Pop - Released May 23, 2019 | Parlophone UK

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