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a short introduction by Ray Davies, background information about all of the enclosed albums and numerous previously unpublished photographs including alternative artwork for many of the records.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.
It was just over two years ago that I started writing this blog and one of my first posts documented my first visit to Studio 2 in Abbey Road Studios. It was a remarkable experience and at the time, one I thought would never be repeated. Having been presented with the hefty book 'Recording The Beatles' by Brian Kehew and Kevin Ryan, I was straining at the leash for another visit and fortuitously three of my friends who had missed out first time round, were eager to put that right. Our tickets were booked and travel arrangements sorted and so it was that on a sunny Sunday morning we set off from Newcastle Central Station full of eager anticipation. And yes, the train we caught was the 'One After 909'.
It boded well!
Outside Abbey Road Studios was the usual throng of activity as hordes of tourists trekked backward and forward across that iconic zebra crossing. Buses and taxis blasted their horns and one youngster in a sports car revved his engine to incredible levels before screeching off leaving behind a good portion of his tyre tread. Oh well, it takes all sorts!
Inside the studios we received a warm welcome from the staff and after being given our list of do's and don't's, we were allowed down the photo lined staircase and into the wondrous space that is Studio 2.
As on my last visit, we had about an hour to wander around examining pieces of recording equipment and a variety of keyboard instruments. Having browsed through the aforementioned book, I was a little more knowledgeable about some of the equipment but to be honest, for me, that first hour is more about soaking up the atmosphere of that place. I swear that the spirits of John and George live on there. After all, Studio 2 was like a second home to them for the best part of 8 years.
The main event was once again a talk by the authors of the book but whereas my last visit was to celebrate 80 years of recording at Abbey Road, the theme this year was the sound of Abbey Road Studios. Consequently the talk focused more on how some of those famous sounds were achieved. To add some spice and some wonderful personal anecdotes to the talk, we were joined by Ken Scott who of course worked as an engineer with The Beatles and others between 1964 and 1969. He later went on to produce a host of albums by people such as David Bowie, Supertramp and many others.
Having had the personal contact with The Beatles, his stories added a dimension that was of course missing with Kehew and Ryan, so it was well worth me making my second visit. My favourite insight was into the recording of 'Glass Onion' where after several fractious attempts to add Paul playing a recorder to the only available tape track, Scott pressed the wrong button and erased a whole series of snare drums immediately thinking that his days were well and truly numbered. John however loved the effect and so the track was saved and Scott survived to work with The Beatles again.
As we slowly made our way out at the end, we were allowed admission to the studio canteen where the fab four spent some of their free time while in the studios. Through the back is a very pleasant garden and there I was able to take a snap of this Abbey Road street sign which being unadorned by graffiti must be something of a rarity.
All in all, it was another wonderful day. I wonder if I will ever return for a third visit.
Watch this space.
