How does it compare to the artist's other releases
Good
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Recommend to potential buyers:
yes
Full review
Although I am a huge Bowie fan, I am not a fanatic and I am not up on the minutiae of the great man’s work or particularly knowledgeable of his discography. However, this two CD bargain jumped out at me in a recent HMV sale and it just had to be bought and taken to a good home.
The BBC has been making a virtue of these live sets and sessions in recent years. Notably the Beatles at the Beeb was interesting. I guess the problem with this format is usually that the artists do not have the material or verve to carry it (for instance the Led Zeppelin one has moments of true horror). Someone who does manage to carry it off is Bowie who from 1968-1972 was a regular recorder and some of the material is absolutely fantastic.
I think what makes it fascinating is the variety of material and sounds present in this formative and very productive period that is after all, only 4 years longs. The transition of this live work from the very naïve In the Heat of the Morning to the splendid Rock’n’Roll Suicide perhaps couldn’t be more stark but throughout quality is rarely compromised and it acts as a superb piece that helps us understand what was going on in the music scene at this time.
Added colour is provided by the superb and exhaustive notes that combine with the chat and interviews to give a clear picture of the organisation and atmosphere of these unique gigs. It would be quite counterproductive to give a full description of each song (as there are nearly 40 of them) but rather I give a basic flavour and add some fun details where necessary or desirable.
Disc: 1 In The Heat Of The Morning The first four songs are from a 1968 session and will be familiar to devotees of Bowie’s very early stuff (of which I am) when he was sometimes known as David Jones. In The Heat of The Morning is a splendid, almost psychedelic little ditty with all that faux significant lyrics that remind very much of Procul Harem or the Lovin’ Spoonful. The most impressive thing about this song is the strength of his Bowie’s voice that has a tremendous motown edge to it.
London Bye Ta Ta This is a rather whimsical song in the mould of the Kinks, which a sprinkle of the Faces. Just a pleasing number about Swinging London. Karma Man Making full use of the 14 piece orchestra made available to him, Karma Man is song fully at home in this rather psychedelic selection. In an age of gurus and new spiritualism as extolled by the Beatles in particular this song is almost a parody of that and pokes a little fun at the scene.
Silly Boy Blue People who think they are familiar with this song from the collections of very early Bowies, will be intrigued by this dramatic and full version. It has lost the childish inconsequence of the released version and is slowed right down with dramatic drums, chilling strings and extravagant percussion giving it a more tortured feel. Listen out too for Bowie chanting “Chimi, Chimi, Chimi…” towards the end which was the name of his guru-teacher at the time.
Let Me Sleep Beside You This song is the first of a two-song set from 1969 that were not broadcast, as planned, on the DLT show. Although generally an unremarkable song we are treated to a little interview before hand in which Bowie discusses his hit Space Oddity and how this song had never been played before because his mother thought it was “dirty.” In style it’s rather west coast heavyish rock with tortured singing but the lyrics expose a little more tenderness.
Janine A pleasing romantic ballad with a little Cat Stevens sound and hard guitars and a good beat.
Amsterdam This song marks the beginning of the biggest selection from a session all being introduced by a very youthful sounding John Peel. He sounds particularly middle class and innocent…and not in the least bit Liverpudlian. Folkish cover version: rather unremarkable
God Knows I'm Good Nice folky ballad with a mysterious parable that I am at a loss to really make out. Width Of A Circle Still only half written at this stage, this track is a rather disappointing rendition of a pretty good rock tune that has a folksy edge. Or maybe any song with acoustic guitars in sounds folksy.
Unwashed And Somewhat Slightly Dazed Not quite the epic version, this version was cut down on transmission. A poor rendition of not a bad song.
Cygnet Committee An eight minute epic of a song I don’t really know and that has yet to engage me. It is also, to my mind, blighted by some ghastly hollowing voice effects that totally ruin the tune.
Memory Of A Free Festival It is such a classic of the time evoking that awe and reverence that these early free festivals are often treated with. However, this version is very rough round the edges and a bit scrappy: the drumming in particular is not very good. I think this session, in general, suffers from bad sound quality.
Wild Eyed Boy From Freecloud An unusual soulful rock tune.
Bombers A brilliant Bowie Ballad with his brand of mysterious humour and wry observations. It is however, let down by dodgy drumming and David forgetting the words at one point. However, it is good to hear more of this song which appeared as a bonus track on the Hunkydory CD.
Looking For A Friend A Bowie track covered by another band (Arnold Corn? I cannot make out what Peel says exactly) which is really very good and rather like the Stones with its R and B sound.
Almost Grown John Peel almost wets his pants at the end of this spirited Chuck Berry number. It’s a good hard rendition of this rock and roll classic but rather out of place in this otherwise esoteric first CD.
Kooks I love this song: and here we seem to have pretty much the first performance of this Hunkydory classic. And also we hear how it came into being from David himself just before The song also has that great lyrics: “Don’t pick fights with the bullies and the cads ‘cos I’m not much cop at punching other people’s dads.”
It Ain't Easy Another groovy cover that seems rather anti-climatic for the end of the set and the first CD in comparison to Kooks.
These later songs were not recorded with an audience but this means that there is a more consistent quality
Disc: 2 The Supermen A wonderfully evocative song with a mystical, Aryan myth feeling to them. It is typical Bowie. A silly voice and occasionally impenetrable lyrics. But as the first song on this second CD the quality of the studio recording is markedly improved and almost as good as the album version.
Eight Line Poem Does exactly what it says on the packet: also on Hunkydory. Pretty much a non-starter but nice to see the cactus featuring in pop, as it is a sadly underused flora in song.
Hang On To Yourself Hip swinging, almost glam rock number which is sadly under-rated.
Ziggy Stardust I think that version which is almost slightly more ponderous and seems rather slower and also is better than the released version. Bowie also gives the lyrics more of what they want: sex. The bass and guitars are also more indulgent giving it a more rockish sound: sound that this masterpiece surely deserves.
Queen Bitch Pretty standard version of this hunky-dory classic. Although you get a bit more of Bowie and the words. And this song, which is rather rude, is better for the clarity.
Waiting For The Man Compared to some of the greats on this album, this tune seems almost pedestrian but the driving guitar is great. However, it rather lacks sophistication.
Five Years I really like this song although I have never heard it elsewhere. It is moody languorous and the late chanting of “five years” is rather good at the end. A kind of apocalyptic lament.
White Light/White Heat Piano-driven honky tonk rock’n’roll number.
Moonage Daydream With this song the sound that Bowie was developing by 1972 that was the basis for his Ziggy period is very developed. Whilst rock driven, and his singing shrill and vampish, there are also elements of blues piano and good harmonies too.
Hang On To Yourself Another rockish, rambling dirty city song with a good beat and vampish lyrics like “we move around like tigers on Vaseline.”
Suffragette City This lacks the style and big sound of the stadium version so often heard that starts with “This ain’t rock’n’roll this is genocide.” But it does benefit from some really good piano in the background.
Ziggy Stardust Another go at Ziggy Stardust which is weaker than the other on this collection but still rather good. It is just too slow…and David plays about too much.
Starman This is a very clean version of the song with a crisp driving beat…..which is not necessarily a good thing. But this will always be a classic.
Space Oddity A really nice, uncluttered version of Bowies Classic. And one gets a bit more out of the words and the story without a dozen orchestras clanging away. But it doesn’t really add much. But it’s good fun. Bowie seems bored. I am quite sure, incidentally that Major Tom wore Van Heusen shirts can anyone confirm this?
Changes Good solid rendition of this song. It does lack the hearty consistency of the released version on Hunkydory.
Oh! You Pretty Things This really doesn’t seem to differ from the previously released version. But it’s a satisfying song. I just love the sentiment and the style. A good song. This version has a great sort of happy clappy feel as the chorus is sung with tambourines.
Andy Warhol Bowie give the lyrics priority on this soulful version of the song: he lingers a bit more and it sounds great.
Lady Stardust A really nice song that I don’t know much about but it’s got a really great “And it’s alright” chorus that has me jingling along. A good chilling song…I think.
Rock 'N' Roll Suicide A perfect ending song: this is one of the Bowie greats. With its pathos and humour it sums up, I suppose what can be the tatty life of the pop star. In this version Bowie really lingers over the sardonic lyrics. The guitars and bass carry him along and he almost dawdles with it. It misses something without the brass but my god when the bass really kicks in is a classic tune. And the piano is great.
And if anyone is still here, reading this op don’t forget: “Gimme your hands, cos you’re wonderful.”
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Outstanding
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Outstanding
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