Pin Ups is an album by David Bowie containing cover versions of songs, released by RCA Records in 1973 (see 1973 in music). It was his last studio album with the bulk of 'The Spiders From Mars', his backing band throughout his Ziggy Stardust phase; Mick Woodmansey was replaced on drums by Aynsley Dunbar. Pin Ups entered the UK chart on November 3, 1973 (1973-11-03) (coincidentally the same day as Bryan Ferry's covers album These Foolish Things) and stayed there for 21 weeks, peaking at #1. It re-entered the chart on 30 April 1983 (1983-04-30), this time for 15 weeks, peaking at #57. In July 1990 (1990-07) it again entered the chart, for one week, at #52. A version of The Velvet Underground's "White Light/White Heat" was recorded during the sessions. It was never released; Bowie donated the backing track to Mick Ronson for his 1975 album Play Don't Worry.
Essential: a masterpiece of rock music
WHAM BAM THANK YOU MAM
Deeply inspired by the rise and fall of Vince Taylor (whom Bowie incidentally met in 1971). David/Ziggy will mix this story with science-fiction themes, the atmosphere of the star rock system mixing the whole stuff with his androgynous look. Ziggy will appear as such on stage. Intelligent glam rock? Probably.
Diamond Dogs is a concept album by David Bowie, originally released by RCA Records in 1974. Thematically it was a marriage of the novel Nineteen Eighty-Four by George Orwell and Bowie's own glam-tinged vision of a post-apocalyptic world. Bowie had wanted to make a theatrical production of Orwell's book and began writing material after completing sessions for his 1973 album Pin Ups, but the late author’s estate denied the rights. The songs wound up on the second half of Diamond Dogs instead where, as the titles indicate, the Nineteen Eighty-Four theme was prominent.
A sequel to the 2015 box Five Years 1969-1973, 2016's Who Can I Be Now? (1974-1976) covers just three years but this stretch in the mid-'70s happens to be the peak of David Bowie's superstardom. That much can be gleaned from the number of albums within the set: three studio albums - Diamond Dogs, Young Americans, Station to Station, each released in a subsequent year - along with the double live album David Live from 1974. Four albums in three years is plenty but to that core canon Who Can I Be Now? adds five additional alternate albums, each with varying degrees of rarities. There are full latter-day remixes of David Live and Station to Station - the former from 2005, the latter from 2010 - the concert album Live Nassau Coliseum '76, which was added to the super deluxe 2010 reissue of Station to Station, a bonus disc of single edits and stray songs entitled Re:Call, plus an early version of Young Americans called The Gouster.
A sequel to the 2015 box Five Years 1969-1973, 2016's Who Can I Be Now? (1974-1976) covers just three years but this stretch in the mid-'70s happens to be the peak of David Bowie's superstardom. That much can be gleaned from the number of albums within the set: three studio albums – Diamond Dogs, Young Americans, Station to Station, each released in a subsequent year – along with the double live album David Live from 1974…
As if the flood of compilations called Best of Bowie in 2002 weren't confusing enough – there was a different track listing for each territory around the world, all bearing the same name and album cover – in 2004, a double-disc version of Best of Bowie was released in U.S., which was different than the "bonus CD" edition released in North America in 2002. It's not too different – a slightly different sequencing, it's a track longer, it has a couple different songs (and there's an edition with a bonus CD containing remixes) – but even if the details are slightly different, the overall gist remains: this is an excellent double-disc overview of Bowie's '70s and '80s peak.
DAVID BOWIE David Bowie Box (Deleted 2007 UK strictly limited edition 10-CD box set comprising 5 x 2-CD sets of the albums 'Outside', 'Earthling', 'Hours', 'Heathen' & 'Reality'; all with Bonus Discs containing remixes from Moby, Marius deVries & more, bonus material [previously released on special editions], extra tracks from single releases and covers of classics such as 'Waterloo Sunset'; all presented in mini LP-style card picture sleeves complete with individual booklets and housed in a picture slipcase. While late-period Bowie was more a stylistic interpreter than the innovator of the 1970s, this collection has many high points, notably a version of the Kinks' "Waterloo Sunset" and a series of reworkings of the artist's own "Rebel Rebel."