David+bowie

The Glass Spider Tour was a 1987 worldwide concert tour by English musician David Bowie, launched in support of his album Never Let Me Down.

One of the greatest stars of the rock & roll era, David Bowie evaded easy categorization throughout his career, operating as the artiest rocker within the mainstream and the most accessible musician on the fringe. Bowie may have trafficked in ideas cultivated in the underground, but he was never quite an outsider as far as rock & roll was concerned. From the outset of his career in the 1960s, he attempted to break into the Top 40, playing British blues, mod rock & roll, and ornate pop before finally hitting paydirt as a hippie singer/songwriter.

Since David Bowie spent the '90s jumping from style to style, it comes as a shock that Hours, his final album of the decade, is a relatively straightforward affair. Not only that, but it feels unlike anything else in his catalog. Bowie's music has always been a product of artifice, intelligence, and synthesis. Hours is a relaxed, natural departure from this method. Arriving after two labored albums, the shift in tone is quite refreshing. "Thursday's Child," the album's engaging mid-tempo opener, is a good indication of what lays ahead. It feels like classic Bowie, yet recalls no specific era of his career. For the first time, Bowie has absorbed all the disparate strands of his music, from Hunky Dory through Earthling.

This collection celebrates the twelve months running up to the release of the album Hunky Dory in December 1971 via home demos, BBC radio sessions and live and studio recordings. Contains 48 previously unreleased tracks/demos from the period, and new alternative mixes of 'Hunky Dory' tracks by original co-producer Ken Scott.Two books accompany 'Divine Symmetry', a 100-page hardback book featuring exclusive memorabilia and photos alongside a 60-page replica composite of Bowie’s notebooks from the era featuring handwritten lyrics, costume drawings, recording notes and set lists.

PREVIOUSLY UNRELEASED RADIO SESSIONS 1966 - 1972 While David Bowie s early career was somewhat fragmented, a little disjointed and often sporadic, he was rarely off the wireless. And the sessions he recorded for radio across this period, makes for a fascinating body of work. This 2 x CD collection features nearly 2 hours of such FM sessions, previously unreleased on CD and in near perfect quality. Including cuts originally recorded for shows such as Top Gear, Sounds Of The Seventies, The Sunday Show and a number of other programmes, this set will delight Bowie fans as it completes the availability of material originally intended to be heard only via the airwaves.

Legendary performance from the Montreal Forum, Canada Includes the entire King Biscuit Flower Hour Radio broadcast Digitally remastered for greatly enhanced sound quality Background liners David Bowie s sold-out 1983 tour, Serious Moonlight, was the biggest of his career to this point. Bowie embarked upon the tour to promote his 15th studio album Let s Dance, produced by music maestro and Chic guitarist, Nile Rodgers.

Recorded in various locations between 1968-72.

The musical chameleon's 6 studio albums from 1969-1973. In just a short amount of time you can see Bowie turn and surprise at each album. The accompanying book features technical notes about each album from the producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by an artist of note. Albums included: "David Bowie" (aka "Space Oddity"), "The Man Who Sold The World", "Hunky Dory", "The Rise And Fall Of Ziggy Stardust And The Spiders From Mars", "Aladdin Sane", "Pin Ups".

After performing his second-to-last selection, "White Light/White Heat," a tune by Lou Reed, the songwriter who most influenced Ziggy Stardust, David Bowie's enduring and indelible persona, Bowie dropped this little nugget on his fans (and bandmates): "Not only is it the last show of the tour, but it's the last show that we'll ever do. Thank you." He then went into a magnificent version of "Rock & Roll Suicide," a song that gives a glimpse of where Bowie could have gone, not to suicide, but to the style of rock & roll that a long-term band can provide. Had Bowie kept the Spiders from Mars together, unique flashes like the version of "Let's Spend the Night Together" or the striking "All the Young Dudes would have continued, a tight little rock & roll band providing a balance that dissipated when the artist branched out on his own.