For reasons that should be obvious to everyone, my thoughts in recent weeks have turned to the music of David Bowie. As I first became a fan of his music during the five years covered by this set and it remains my favourite period of his career, I was obviously drawn towards this package released in September last year. My own albums from that era were in need of an upgrade, so the decision was made and the credit card was put into action.
But what exactly does one get within this package? Well, there are no fewer than 13 LP records broken down as follows:
- David Bowie AKA Space Oddity (remastered in 2015)
- The Man Who Sold The World (Remastered in 2015)
- Hunky Dory (Remastered in 2015)
- The Rise and Fall of Ziggy Stardust and the Spiders From Mars (2012 remaster)
- The Rise and Fall of Ziggy Stardust and the Spiders From Mars (special 2003 mix by Ken Scott)
- Aladdin Sane (2012 remaster)
- Live in Santa Monica 1972 (2 LP)
- The Rise and Fall of Ziggy Stardust and the Spiders From Mars (soundtrack 2 LP)
- Pin Ups (Remastered in 2015)
- Re:Call - a collection of non album singles, B sides and alternate versions (2 LP)
Also there is a sumptuous LP sized 82 page hard backed book containing a short introduction by Ray Davies, background information about all of the enclosed albums and numerous previously unpublished photographs including alternative artwork for many of the records. There are also contemporary articles about each of the albums from magazines such as 'Rolling Stone' and 'New Musical Express'. Best of all though are notes about the recording, production and mixing of each album by in turn, Tony Visconti and Ken Scott. The detail provided in these notes makes the listening experience all the more enjoyable and I have arrived at the conclusion that this book is perhaps the finest in any music set I have ever encountered.
There are far too many anecdotes to repeat here, but one from Ken Scott concerned Bowie's vocal performance on 'Five Years'. Scott reveals how almost all of Bowies vocals were performed live in one take. And so it was with 'Five Years' although the very final phrase "We've got five years" had to be re-recorded as by the end of the song Bowie was in tears and sobbing so much that the words were indecipherable.
Musically of course the collection is superb representing the period when Bowie emerged as a true rock icon. I am no audiophile but I find the sound on all of these discs absolutely outstanding. I am of course very familiar with all of the studio albums (less so with the live ones) yet I find I am still hearing parts that I had either missed altogether or had forgotten. In part this may be down to the helpful notes by the producers, for example Ken Scott refers to the bad edit as the drums enter on 'Starman'. I had never noticed it before. Also the fact that the listener can hear virtually no cymbals at all throughout 'Ziggy Stardust'. Why? Well, simply because Mr Scott had developed something of an aversion to them at that time and preferred to let Bowie's 12 string acoustic guitar drive the rhythm along. And it clearly worked.
I should add that one of the things I particularly like about this package is the fact that the albums have all been kept as they were originally and all of the "bonus" material is included on the separate 'Re:Call' discs. Just the way I prefer it.
I confess that this item involved an expensive outlay, though I considered it a bargain when I recently spotted a copy in a local record store for considerably more, but the expense was worth it to hear what I consider to be the absolute best of David Bowie in such wonderful audio quality. Now, I have the difficult task of weaning myself away from these albums as there are other musical delights demanding my listening attention.
Top of the pile is the new album from Lucinda Williams, of which more in due course I suspect.
Bowie has gone but life goes on.
After my inane ramblings upon hearing of the death of David Bowie early on Monday morning, I wondered out in something of a daze and purchased his latest and though it pains me to say it, final album, 'Blackstar'. A young man made a comment that having heard this record on 10th January, it sounded very different the following day. A very astute comment I believe, as of course Bowie's death was announced on the 11th.
I did not have the benefit of having heard the full album prior to the sad announcement, merely the two tracks, 'Blackstar' and 'Lazarus'. Though I was mesmerised by the music of the former, the lyrics mystified me. Then upon hearing the full album after news of his passing, it all seemed to become clear. No doubt Bowie was aware of the extent of his illness when this album was being written and recorded and it must seem obvious to all now that the songs are full of hidden messages referring to his imminent demise.
Even the cover and the booklet hint at what was to come. I usually have a hatred of CD packages that are designed in colour schemes that make it impossible to read the contents. Yet here, Bowie (assuming that he had a hand in the design) chose to present the information in black ink on a black background. I suspect he was having a final joke with us.
Under the circumstances it is difficult for me to now express an opinion about the album without putting it into the context of his illness and death. However, I have tried hard to separate the events and having now listened to the seven songs on this disc almost a dozen times, I am convinced that it is an absolutely brilliant album. If this was not the case then I suspect that I may have listened two or three times and then put it to one side in favour of something else that demands my listening time (and there is plenty of competition). However I have been repeatedly drawn back to it in a way which seems quite rare these days, though is all the more welcome when it does happen.
The title track is in my opinion a work of genius and sustains my interest throughout its 10 minute duration. My feeling on first listening to it conjured up similar sentiments to when I first heard 'The Bewlay Brothers' back in 1973, not that the songs are by any means similar. It's just that few artists are or were daring enough to present us with this kind of material. It doesn't end there because on 'Blackstar' every one of the remaining six tracks offers up something new and interesting. Throughout, Bowie sounds in fine voice but it is his voice alone that reminds me that this is a David Bowie record. In other respects it sounds different to me than anything else I personally have heard by him.
At the moment, I am of the opinion that this may in fact be his finest work. What? Better than 'Hunky Dory' or 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' or - insert your own favourite here? Well this is where I may be becoming influenced by the circumstances surrounding the creation and release of this record and I accept that it will be easier to assess the merits of this album in five or ten years time. Nevertheless, the fact that I can even consider it for such an accolade is testament to just how highly I rate this wonderful piece of work.
Talk about going out with a bang. But then this is David Bowie. Why should we be surprised?
I have woken this morning to the devastating news of the death of David Bowie and I don't recall a time that I have been as affected by the death of someone I never met, since I woke to news of the murder of John Lennon 35 years ago.
So, in this state of shock and disbelief, I sit here recording my own personal thoughts about the man born David Robert Jones on 8 January 1947.
I first became aware of him I suppose, when 'Space Oddity' became a massive hit in 1969, but it wasn't until I turned 21 in the summer of 1972 that I went out and purchased my very first David Bowie album, the seminal 'Rise and Fall of Ziggy Stardust and the Spiders From Mars'. Like so many others, I was blown away by it and it was probably played more often by me than any other album during that year. I quickly added his earlier albums 'Hunky Dory' and 'The Man Who Sold The World' to my collection and discovered that they were equally as good. They were followed by the different but equally brilliant, 'Aladdin Sane'.
I continued to hear albums by Bowie throughout the remainder of the 1970's but without actually purchasing any. The trio of albums 'Station to Station', 'Low' and 'Heroes' intrigued me but were just a little too electronic for my more rock-orientated tastes. I then pretty much tuned out to his music, yet I recall referring to him during the 1980's as one of the most influential musicians of all time. And I stand by that opinion as besides having the rare ability to continually reinvent himself, Bowie also influenced a host of other acts that flourished during the 1980's and beyond. True, not all of them were necessarily good but there can be no doubting the impact that Bowie had on the music of those times.
From a personal point of view, whilst continuing to enjoy my very favourite Bowie albums, I ceased listening to the rest of his recorded output. That is until the release of his 2013 album, 'The Next Day' which I described at the time as 'a great return to form' after ten years of silence.
Over the past week or so I have been hearing and reading great things about Bowie's new album 'Blackstar' which was released three days ago on his 69th birthday. It sounded intriguing and it was only yesterday that I seriously thought about ordering the album. My decision has now been made. I somehow feel that it is the right thing to do. And I suspect that I will not be alone and that within days the album will be riding high at the top of the album charts.
I also suspect that people of my generation will today be digging out those 1970's albums and playing them, perhaps with a tear in their eye. Younger folk may be playing their own favourites, be it 'Let's Dance', 'Tin Machine' or 'Earthling'. We all will all have our personal favourite and that surely is the measure of his legendary status, that he has continued to push boundaries and win new fans in the five decades since 'Space Oddity'.
The words 'great' and 'legend' are vastly overused these days but Bowie was truly one of the absolute great musical icons - a true legend. He will be sadly missed.
RIP David.
I have said it in earlier posts this year, but I really do believe that 2013 has been an exceptional year for new music. Consequently making my decisions as to the best (ie my favourite) albums of the year has been particularly difficult. For me the year began on a high note with the release of 'Lady From Shanghai' by Pere Ubu and 'Electric' by Richard Thompson. and my enjoyment of both albums was enhanced by seeing both of these acts live in the first half of the year.
You can read my thoughts on the Richard Thompson album here and on Pere Ubu here.
The prolific Nick Cave maintained his own high standards with 'Push The Sky Away' while David Bowie surprised everyone, myself included, by returning to the studios and treating us all to 'The Next Day' an album which quite rightly is appearing in many 'Best Of' lists this year. Another of my long time favourites, Steve Earle, took us on a tour of an American landscape with which he appeared to be less than enamoured. The result was 'The Low Highway'. Yet another favourite in the so-called Americana genre is Jason Isbell and he didn't disappoint with 'Southeastern'.
Last year the prize for White Room favourite went to Anais Mitchell for her marvellous album 'Young Man in America'. This year in collaboration with Jefferson Hamer, Ms Mitchell delved into the murky past of British folk music with a small sample of 'Child Ballads'. These songs have been performed and recorded by hundreds of artists, yet rarely I feel, with such beauty and tenderness.
I was intrigued to find out how Midlake would adapt to the loss of their lead singer and songwriter, Tim Smith. For me they have never been able to reproduce the brilliance of their second album, 'The Trials of Van Occupanther'. With 'Antiphon' they have delivered something of a slow burner which possibly explains why it has not made my top six. It is still working it's way into my psyche and is an album that I may find easier to evaluate in six months time.
There was obviously a huge amount of expectation (and hype) surrounding the release of 'Reflektor' by The Arcade Fire. They have now become one of the world's biggest bands, able to sell out large arenas at the drop of a hat. And perhaps for me, that is the problem as I have a tendency to drift away from acts as soon as they are on the brink of mega-stardom. Nevertheless I was eagerly anticipating this year's release and don't get me wrong, I have enjoyed the album. Yet, it doesn't quite hit the spot that their early releases did when I found them to be fresh and exciting. That might say more about me, but whatever the reason, they have not made it into the White Room top six.
Anyone who has been a regular or even an occasional reader of these pages will not have failed to notice that I am a HUGE fan of The Beatles. Yet, I have never been much of a fan of the solo work of Lennon, McCartney, Harrison or Starr. Paul McCartney has of course written some fine songs yet there has always been a side to his songwriting that I have found rather twee. This remains the case with his latest album 'New', however there is enough very good material for me to make the claim that I think this might just possibly be his best solo work ever. The number of people of his generation who can continue to write songs and produce albums of this standard, is sadly dwindling. Macca deserves credit for having the energy and the ability to produce this sort of stuff after 50 years (and counting).
Other 2013 albums which are also worthy of mention are:-
'None The Wiser' by Chris Wood
'Shout!' by Gov't Mule
'Til Yor River Runs Dry' by Eric Burdon
'Mount Moriah' by Mount Moriah
'MCII' by Mikal Cronin
'II' by Unknown Mortal Orchestra
'Magpie & The Dandelion' by The Avett Brothers
'Man & Myth' by Roy Harper
'Monomania' by Deerhunter
'Once I Was An Eagle' by Laura Marling
'The Terror' by The Flaming Lips.
Phew! I told you it had been a great year.
Still the White Room Top Six to be announced. Yes I did say SIX. These are the albums which for me deserve special mention this year. Watch this space.
As another birthday slips by, I realise that we are once again midway through the year. So it seems a good time to quickly mention the albums that have most impressed me so far in 2013.
I have of course previously mentioned some of the best, such as:
- Pere Ubu - Lady From Shanghai
- Richard Thompson - Electric
- Villagers - {Awayland}
- Steven Wilson - The Raven That Refused to Sing
- Steve Earle - The Low Highway
- Hiss Golden Messenger - Haw
- These New Puritans - Field of Reeds
- Anais Mitchell & Jefferson Hamer - Child Ballads
Others that are contenders include 'Til Your River Runs Dry' by Eric Burdon who remains in very fine voice. Also a great return to form by David Bowie with 'The Next Day', 'Push the Sky Away' by Nick Cave & The Bad Seeds and the second album from Mount Moriah entitled 'Miracle Temple'.
I am also currently listening to 'Southeastern' by Jason Isbell and 'Once I Was an Eagle' by Laura Marling and I have little doubt that they will feature in my final decision at the end of the year.
All in all it has been a great year so far. And there are still another six months to go!
