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January 30, 2009 Posted by | David Bowie, _CARTOON, _MUSIC | Leave a comment

Bowie’s Ziggy to remain (un)dead

Rumours circulated in tabloids suggested the star was gearing up to bring back his legendary flame-haired character during a headlining slot at the April (09) event in California.

A source told the Daily Star, “Coachella tried to book Bowie last year and he refused, so they got Prince to headline instead. But there’s a very strong chance they will be able to persuade him this year.”

The reports added Bowie had been asked to perform his 1972 glam LP, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, in its entirety for the three-day gig.

But Bowie, who has been in semi-retirement since a minor heart scare in 2004, has denied he will play the popular event.

A representative for the singer tells he has “no plans to play”.

Bowie killed off his Ziggy Stardust character in 1973, claiming it hindered his creativity.

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January 28, 2009 Posted by | David Bowie, _CARTOON, _MUSIC | Leave a comment

David Bowie – Live at 50

David Bowie – Live at 50

Interesting bootleg collection of live performances by Mr Ziggy with an array of other great artists such as Black Francis and Sonic Youth.

And Lou Reed, of course, who has always been, let’s say an “inspiration” to Bowie! No, we don’t necessarily mean Bowie ripped Lou off on countless albums!


David Bowie & Annie Lennox – Under Pressure
David Bowie & Frank Black – Fashion
David Bowie & Frank Black – Scary Monsters
David Bowie & Jeff Beck – The Jean Genie (Ziggy Farewell Show)
David Bowie & Lou Reed – Dirty Boulevard
David Bowie & Lou Reed – Waiting for the Man
David Bowie & Marianne Faithfull – I got you babe
David Bowie & Nine Inch Nails – Hello Spaceboy
David Bowie & Nine Inch Nails – Scary Monsters
David Bowie & Sonic Youth – I`m afraid of Americans

Here be Bowie


Big thanks to theteacomp


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November 30, 2008 Posted by | Annie Lennox, Black Francis, David Bowie, Jeff Beck, Lou Reed, Marianne Faithfull, Music_Alternative, Nine Inch Nails, Sonic Youth, _MUSIC | Leave a comment

Morrissey’s Suedehead and Conchord dreams !

//” cannot be displayed, because it contains errors.

Last night I dreamt,

somebody woke me …

Rather disturbingly, I had a dream about Morrissey last night! I think my already fragile mind is nigh approaching collapse! Or maybe it was just the extra five tumblers of Jack Daniels after closing-time in the go-go bar!

I mean, I was a huge huge fan of The Smiths back in the day, but only a casual follower of Mozza’s solo work, which although having some sublime moments, has produced no sustained work remotely in the calibre of say “The Queen is Dead”.

Mozza without Marr was a tad like Lennon without Mc Cartney. Or more like Jagger without Richards!

The dream wasn’t exactly as weird as Bret’s wonderful dreams of David Bowie in the classic series 1 episode of Flight of the Conchords (see clip below!) but still rather vivid! Maybe I need to get a funky funky eye patch !!

Within much dumb conversation came the question why his solo work, according to critical opinion, never reached the heights of the Smiths, to which the great Manc. said that it did reach those heights and beyond! And moreover that his fine solo catalogue dwarfed what the Smiths ever released! Fair enough! If Morrissey said it, then it must be true! (Yes, Morrissey did say it, not some fucked-up and disturbing quirk in my subconscious that I never want to endure again!!)

Which brings us, rather stumblingly, to “Suedehead“, Mazza’s amazing debut solo single and still, in our view, his greatest solo moment.

//” cannot be displayed, because it contains errors.Hard to believe this was released over 20 years ago! Yap, in February 1988! I must’ve been about 7 then!

Before the release, there was an incredible amount of fevered anticipation amongst Smiths fans, still reeling from the sudden demise of the seminal group. And so much media hype!! But, for once, the final product lived up to the hype!

I rushed out to the record store on the day of the release and played the single about a million times that first week!

The track later featured on Morrissey’s pretty decent debut album Viva Hate and again on the compilation album Bona Drag; the latter of which also featured the single’s B-side “Hairdresser on Fire“.

Strangely, this single charted higher than any of the singles released by The Smiths, reaching number 5 in the UK Singles Chart.

Suedehead remains a powerful track even though Mozza’s trademark lyrics are far from being at their best here. The track really has the feel of a great Smiths song with delicious instrumentals worthy of Johnny Marr (and stylistically not dissimilar to a set of Marr riffs).

The top class band here included Stephen Street on Bass Guitar, Guitars, Vini Reilly on Guitars, Keyboards and Andrew Paresi on Drums and Percussion.

Brit music mag NME gave Suedehead a euphoric review, awarding it ‘Single of the Week’ saying that “Morrissey’s vocals hit a pitch that turns your stomach with queasy delight. It makes you feel vulnerable and provokes emotions you’ve forgotten about.

In the 1988 NME Year in Review the song was described as “The best No. 1 ’88 never gave us“!

A typically strange video too! Mozza on a quest through Americana for Jimmy’s ghost! Way OTT on the James Dean BS!

The highlight? Easy! Morrissey trying to start a tractor! The first and last time Mozza ever saw a fucking tractor!

Lowlight? Yap, Mozza in the bath! Could’ve really done without seeing that!

Why do you come here ?
And why do you hang around ?
I’m so sorry
I’m so sorry

Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
Why do you telephone ? (Hmm…)
And why send me silly notes ?
I’m so sorry
I’m so sorry

Why do you come here
When you know it makes things hard for me ?
When you know, oh
Why do you come ?
You had to sneak into my room
just to read my diary
It was just to see, just to see
All the things you knew I’d written about you…
Oh, so many illustrations
Oh, but I’m so very sickened
Oh, I am so sickened now

Oh, it was a good lay, good lay
It was a good lay, good lay
It was a good lay, good lay
It was a good lay, good lay
It was a good lay, good lay
Oh, it was a good lay, good lay
Oh, it was a good lay
It was a good lay
Oh, a good lay
Oh, it was a good lay
Good lay, good lay
It was a good lay
It was a good lay

Here’s Mozza;

Here’s Bowie and Bret!;

This is a dream Bret. It’s all part of your freaky dream. Am I freaking you out Bret? Is this a freaky dream?

Wear the eye patch Bret,
Wear the funky funky eye patch


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October 31, 2008 Posted by | David Bowie, Flight of the Conchords, Johnny Marr, Morrisey, The Smiths, _MUSIC, _VIDEO | Leave a comment

Lou Reed Discography

Anyone for a Lou Reed overdose?

I’m not sure where this comes from but kudos to the posters!

Transformer (1972)

01 – Vicious
02 – Andy’s Chest
03 – Perfect Day
04 – Hangin’ Round
05 – Walk On The Wild Side
06 – Make Up
07 – Satellite Of Love
08 – Wagon Wheel
09 – New York Telephone Conversation
10 – I’m So Free
11 – Goodnight Ladies
12 – Hangin’ Round (Acoustic Demo)
13 – Perfect Day (Acoustic Demo)


David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground’s music had a major impact on Bowie’s work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went.

Musically, Reed’s work didn’t have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to “Vicious” and “Hangin’ Round” that’s a lot flashier than what Reed cranked out with the Velvets, but still honors Lou’s strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for “Perfect Day,” “Walk on the Wild Side,” and “Goodnight Ladies” blend pop polish with musical thinking just as distinctive as Reed’s lyrical conceits.

And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted (“Make Up” and “I’m So Free” being the most obvious examples), “Perfect Day,” “Walk on the Wild Side,” and “New York Telephone Conversation” proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed’s career in the 1970s, and while it led him into a style that proved to be a dead end, you can’t deny that Bowie and Ronson gave their hero a new lease on life — and a solid album in the bargain. (

Berlin (1973)

01 – Berlin
02 – Lady Day
03- Men Of Good Fortune
04 – Caroline Says
05 – How Do You Think It Feels
06 – Oh Jim
07 – Caroline Says II
08 – The Kids
09 – The Bed
10 – Sad Song


Transformer and “Walk on the Wild Side” were both major hits in 1972, to the surprise of both Lou Reed and the music industry, and with Reed suddenly a hot commodity, he used his newly won clout to make the most ambitious album of his career, Berlin. Berlin was the musical equivalent of a drug-addled kid set loose in a candy store; the album’s songs, which form a loose story line about a doomed romance between two chemically fueled bohemians, were fleshed out with a huge, boomy production (Bob Ezrin at his most grandiose) and arrangements overloaded with guitars, keyboards, horns, strings, and any other kitchen sink that was handy (the session band included Jack Bruce, Steve Winwood, Aynsley Dunbar, and Tony Levin).

And while Reed had often been accused of focusing on the dark side of life, he and Ezrin approached Berlin as their opportunity to make The Most Depressing Album of All Time, and they hardly missed a trick.

This all seemed a bit much for an artist who made such superb use of the two-guitars/bass/drums lineup with the Velvet Underground, especially since Reed doesn’t even play electric guitar on the album; the sheer size of Berlin ultimately overpowers both Reed and his material. But if Berlin is largely a failure of ambition, that sets it apart from the vast majority of Reed’s lesser works; Lou’s vocals are both precise and impassioned, and though a few of the songs are little more than sketches, the best — “How Do You Think It Feels,” “Oh, Jim,” “The Kids,” and “Sad Song” — are powerful, bitter stuff. It’s hard not to be impressed by Berlin, given the sheer scope of the project, but while it earns an A for effort, the actual execution merits more of a B-. (

Rock N Roll Animal (1974)

01 – Intro – Sweet Jane
02 – Heroin
03 – White Light – White Heat
04 – Lady Day
05 – Rock ‘N’ Roll


In 1974, after the commercial disaster of his album Berlin, Lou Reed needed a hit, and Rock N Roll Animal was a rare display of commercial acumen on his part, just the right album at just the right time. Recorded in concert with Reed’s crack road band at the peak of their form, Rock N Roll Animal offered a set of his most anthemic songs (most dating from his days with the Velvet Underground) in arrangements that presented his lean, effective melodies and street-level lyrics in their most user-friendly form (or at least as user friendly as an album with a song called “Heroin” can get).

Early-’70s arena rock bombast is often the order of the day, but guitarists Dick Wagner and Steve Hunter use their six-string muscle to lift these songs up, not weigh them down, and with Reed’s passionate but controlled vocals riding over the top, “Sweet Jane,” “White Light/White Heat,” and “Rock ‘n’ Roll” finally sound like the radio hits they always should have been. Reed would rarely sound this commercial again, but Rock N Roll Animal proves he could please a crowd when he had to.

The revised CD reissue of Rock N Roll Animal released in 2000 offers markedly better sound than the album’s initial release, along with two bonus cuts that give a better idea of how this band approached the material from Berlin on-stage, as well as an amusing moment of Reed verbally sparring with a heckler. (

Sally Can’t Dance (1974)

01 – Ride Sally Ride
02 – Animal Language
03 – Baby Face
04 – N. Y. Stars
05 – Kill Your Sons
06 – Ennui
07 – Sally Can’t Dance
08 – Billy
09 – Good Taste


On the live album Rock N Roll Animal, Lou Reed showed he’d learned how to give his audience what they wanted, and do it well. Sally Can’t Dance, on the other hand, was the polar opposite, a remarkably cynical album that pandered to the lowest common denominator of the market that had bought Transformer and Rock N Roll Animal, and didn’t even do it with much flair. Reed’s performances here are limited to vocals, except for some sloppy acoustic guitar on one track (this from the man who helped reinvent electric guitar with the Velvet Underground), and the sodden, overblown arrangements sink most of these tunes before they get past the first chorus; much of the time, Reed sounds like an afterthought on his own album.

And while Reed’s best songwriting ranks with the best rock of his generation, Sally Can’t Dance is cluttered with throwaways that reach for the boho decadence of Transformer and come up empty (with special recognition going to the bizarre and truly puzzling “Animal Language”).

Side two does offer two worthwhile songs: “Kill Your Sons,” a powerful and deeply personal remembrance of Reed’s bouts with shock treatment and brutal psychotherapy, which he would revisit in a much stronger performance on 1984’s Live in Italy, and “Billy,” a witty and surprisingly poignant remembrance of an old friend and how their paths in life diverged. But otherwise, Sally Can’t Dance has the distinction of being the worst studio album of Reed’s career; Metal Machine Music may have been a lot more annoying, but at least he was trying on that one. (

Coney Island Baby (1976)

01 – Crazy Feeling
02 – Charley’s Girl
03 – She’s My Best Friend
04 – Kicks
05 – A Gift
06 – Ooohhh Baby
07 – Nonody’s Business
08 – Coney Island Baby

From 1972’s Transformer onward, Lou Reed spent most of the ’70s playing the druggy decadence card for all it was worth, with increasingly mixed results. But on 1976’s Coney Island Baby, Reed’s songwriting began to move into warmer, more compassionate territory, and the result was his most approachable album since Loaded.

On most of the tracks, Reed stripped his band back down to guitar, bass, and drums, and the results were both leaner and a lot more comfortable than the leaden over-production of Sally Can’t Dance or Berlin. “Crazy Feeling,” “She’s My Best Friend,” and “Coney Island Baby” found Reed actually writing recognizable love songs for a change, and while Reed pursued his traditional interest in the underside of the hipster’s life on “Charlie’s Girl” and “Nobody’s Business,” he did so with a breezy, freewheeling air that was truly a relief after the lethargic tone of Sally Can’t Dance. “Kicks” used an audio-tape collage to generate atmospheric tension that gave its tale of drugs and death a chilling quality that was far more effective than his usual blasé take on the subject, and “Coney Island Baby” was the polar opposite, a song about love and regret that was as sincere and heart-tugging as anything the man has ever recorded. Coney Island Baby sounds casual on the surface, but emotionally it’s as compelling as anything Lou Reed released in the 1970s, and proved he could write about real people with recognizable emotions as well as anyone in rock music — something you might not have guessed from most of the solo albums that preceded it. (

Rock and Roll Heart (1976)

01 – I Belive In Love
02 – Banging On My Drum
03 – Follow The Leader
04 – You Wear It So Well
05 – Ladies Pay
06 – Rock And Roll Heart
07 – Chooser And The Chosen One
08 – Senselessly Cruel
09 – Chain To Fame
10 – Vicious Circle
11 – A Sheltered Life
12 – Temporary Thing


Rock and Roll Heart was Lou Reed’s first album for Arista Records, and one senses that he wanted to come up with something saleable for his new sponsors. Uptempo numbers with pop hooks dominate the set, the 12 songs zip by in an efficient 38 minutes, and instead of Reed’s trademark meditations on the dark side of life, the lyrics are (for the most part) lean bursts of verse and chorus, in which the artist sings the praises of good times in general and rock & roll in particular (then again, on “I Believe in Love,” Reed pledges his allegiance to both “good time music” and “the iron cross,” a bit of perversity to remind us whose album this is).

But if Rock and Roll Heart sounds like “Lou Reed Lite,” there are more than a few flashes of Reed’s inarguable talent. His band is in fine form (especially Marty Fogel on sax and Michael Fonfara on keyboards). “Banging on My Drum” is a crunchy rocker that recalls his work with the Velvet Underground; “A Sheltered Life” is an amusing bit of VU archeology (the Velvets demoed the song, but this marked its first appearance on record); and the closer, “Temporary Thing,” is a bitter, haunting narrative that foreshadows Reed’s next album, the harrowing masterpiece Street Hassle. (

Street Hassle (1978)

01 – Gimmie Some Good Times
02 – Dirt
03 – Street Hassle
04 – I Wanna Be Black
05 – Real Good Time Together
06 – Shooting Star
07 – Leave Me Alone
08 – Wait


The rise of the punk/new wave movement in the late ’70s proved just how pervasive Lou Reed’s influence had been through the past decade, but it also gave him some stiff competition, as suddenly Reed was no longer the only poet of the New York streets. 1978’s Street Hassle was Reed’s first album after punk had gained public currency, and Reed appeared to have taken the minimal approach of punk to heart.

With the exception of Metal Machine Music, Street Hassle was Reed’s rawest set of the 1970s; partly recorded live, with arrangements stripped to the bone, Street Hassle was dark, deep, and ominous, a 180-degree turn from the polished neo-glam of Transformer. Lyrically, Street Hassle found Reed looking deep into himself, and not liking what he saw. Opening with an uncharitable parody of “Sweet Jane,” Street Hassle found Reed acknowledging just how much a self-parody he’d become in the 1970s, and just how much he hated himself for it, on songs like “Dirt” and “Shooting Star.”

Street Hassle was Reed’s most creatively ambitious album since Berlin, and it sounded revelatory on first release in 1978. Sadly, time has magnified its flaws; the Lenny Bruce-inspired “I Wanna Be Black” sounds like a bad idea today, and the murk of the album’s binaural mix isn’t especially flattering to anyone.

But the album’s best moments are genuinely exciting, and the title cut, a three-movement poetic tone poem about life on the New York streets, is one of the most audacious and deeply moving moments of Reed’s solo career. Raw, wounded, and unapologetically difficult, Street Hassle isn’t the masterpiece Reed was shooting for, but it’s still among the most powerful and compelling albums he released during the 1970s, and too personal and affecting to ignore. (

The Blue Mask (1982)

01 – My House
02 – Women
03 – Underneath the Bottle
04 – Gun
05 – The Blue Mask
06 – Average Guy
07 – Heroine
08 – Waves of Fear
09 – Day John Kennedy Died
10 – Heavenly Arms

In 1982, 12 years after he left the Velvet Underground, Lou Reed released The Blue Mask, the first album where he lived up to the potential he displayed in the most groundbreaking of all American rock bands. The Blue Mask was Reed’s first album after he overcame a long-standing addiction to alcohol and drugs, and it reveals a renewed focus and dedication to craft — for the first time in years, Reed had written an entire album’s worth of moving, compelling songs, and was performing them with keen skill and genuine emotional commitment. Reed was also playing electric guitar again, and with the edgy genius he summoned up on White Light/White Heat.

Just as importantly, he brought Robert Quine on board as his second guitarist, giving Reed a worthy foil who at once brought great musical ideas to the table, and encouraged the bandleader to make the most of his own guitar work. (Reed also got superb support from his rhythm section, bassist extraordinaire Fernando Saunders and ace drummer Doane Perry).

As Reed stripped his band back to a muscular two-guitars/bass/drums format, he also shed the faux-decadent “Rock N Roll Animal” persona that had dominated his solo work and wrote clearly and fearlessly of his life, his thoughts, and his fears, performing the songs with supreme authority whether he was playing with quiet subtlety (such as the lovely “My House” or the unnerving “The Gun”) or cranked-to-ten fury (the paranoid “Waves of Fear” and the emotionally devastating title cut). Intelligent, passionate, literate, mature, and thoroughly heartfelt, The Blue Mask was everything Reed’s fans had been looking for in his work for years, and it’s vivid proof that for some rockers, life can begin on the far side of 35. (

Legendary Hearts (1983)

01 – Legendary Hearts
02 – Don’t Talk to Me About Work
03 – Make Up Mind
04 – Martial Law
05 – The Last Shot
06 – Turn Out the Light
07 – Pow Wow
08 – Betrayed
09 – Bottoming Out
10 – Home of the Brave
11 – Rooftop Garden

If Legendary Hearts seemed like a disappointment in 1983, that was largely because the year before Lou Reed had released The Blue Mask, one of the finest albums of his career, and Legendary Hearts just wasn’t quite as good. But pull it off the shelf today, give it a listen, and Legendary Hearts easily shuts down nearly anything Reed released in the 1970s; if it’s a less obvious masterpiece than The Blue Mask, it makes clear that Reed was once again in firm command of his strengths, and making the most of them in the studio. Guitarist Robert Quine and bassist Fernando Saunders were both back on board from The Blue Mask, and they reaffirmed their status as the linchpins of the strongest band of Reed’s solo career, and drummer Fred Maher rocked harder (and with fewer frills) than Doane Perry.

The bracing cross-talk of Reed’s and Quine’s guitars had lost nothing in the year separating the two albums, and if Reed didn’t seem to be aiming quite as high as a songwriter this time out, most of the tracks were every bit as intelligent and soul-searching as The Blue Mask‘s lineup; if there were a few moments of comic relief, like “Don’t Talk to Me About Work” and “Pow Wow,” no one could argue that Reed hadn’t earned a few laughs after songs like “Make Up Mind,” “The Last Shot,” and “Betrayed.” On Legendary Hearts, Reed was writing great songs, playing them with enthusiasm and imagination, and singing them with all his heart and soul, and if it wasn’t his best album, it was more than good enough to confirm that the brilliance of The Blue Mask was no fluke, and that Reed had reestablished himself as one of the most important artists in American rock. (

New York (1989)

01 – Romeo Had Juliette
02 – Halloween Parade (Aids)
03 – Dirty Blvd.
04 – Endless Cycle
05 – There Is No Time
06 – Last Great American Whale
07 – Beginning of a Great Adventure
08 – Busload of Faith
09 – Sick of You
10 – Hold On
11 – Good Evening Mr. Waldheim
12 – Xmas in February
13 – Strawman
14 – Dime Story Mystery [To Andy – Honey]


New York City figured so prominently in Lou Reed’s music for so long that it’s surprising it took him until 1989 to make an album simply called New York, a set of 14 scenes and sketches that represents the strongest, best-realized set of songs of Reed’s solo career. While Reed’s 1982 comeback, The Blue Mask, sometimes found him reaching for effects, New York‘s accumulated details and deft caricatures hit bull’s-eye after bull’s-eye for 57 minutes, and do so with an easy stride and striking lyrical facility.

New York also found Reed writing about the larger world rather than personal concerns for a change, and in the beautiful, decaying heart of New York City, he found plenty to talk about — the devastating impact of AIDS in “Halloween Parade,” the vicious circle of child abuse “Endless Cycle,” the plight of the homeless in “Xmas in February” — and even on the songs where he pointedly mounts a soapbox, Reed does so with an intelligence and smart-assed wit that makes him sound opinionated rather than preachy — like a New Yorker. And when Reed does look into his own life, it’s with humor and perception; “Beginning of a Great Adventure” is a hilarious meditation on the possibilities of parenthood, and “Dime Store Mystery” is a moving elegy to his former patron Andy Warhol.

Reed also unveiled a new band on this set, and while guitarist Mike Rathke didn’t challenge Reed the way Robert Quine did, Reed wasn’t needing much prodding to play at the peak of his form, and Ron Wasserman proved Reed’s superb taste in bass players had not failed him. Produced with subtle intelligence and a minimum of flash, New York is a masterpiece of literate, adult rock & roll, and the finest album of Reed’s solo career. (

Songs for Drella (1990)

01 – Smalltown
02 – Open House
03 – Style It Takes
04 – Work
05 – Trouble With Classicists
06 – Starlight
07 – Faces and Names
08 – Images
09 – Slip Away (A Warning)
10 – It Wasn’t Me
11 – I Believe
12 – Nobody But You
13 – A Dream
14 – Forever Changed
15 – Hello It’s Me

John Cale, the co-founder of The Velvet Underground, left the group in 1968 after tensions between himself and Lou Reed became intolerable; neither had much charitable to say about one other after that, and they seemed to share only one significant area of agreement — they both maintained a great respect and admiration for Andy Warhol, the artist whose patronage of the group helped them reach their first significant audience.

So it was fitting that after Warhol’s death in 1987, Reed and Cale began working together for the first time since White Light/White Heat on a cycle of songs about the artist’s life and times. Starkly constructed around Cale’s keyboards, Reed’s guitar, and their voices, Songs for Drella is a performance piece about Andy Warhol, his rise to fame, and his troubled years in the limelight. Reed and Cale take turns on vocals, sometimes singing as the character of Andy and elsewhere offering their observations on the man they knew.

On a roll after New York, Reed’s songs are strong and pithy, and display a great feel for the character of Andy, and while Cale brought fewer tunes to the table, they’re all superb, especially “Style It Takes” and “A Dream,” a spoken word piece inspired by Warhol’s posthumously published diaries. If Songs for Drella seems modest from a musical standpoint, it’s likely neither Reed nor Cale wanted the music to distract from their story, and here they paint a portrait of Warhol that has far more depth and poignancy than his public image Identity-Issues would have led one to expect.

It’s a moving and deeply felt tribute to a misunderstood man, and it’s a pleasure to hear these two comrades-in-arms working together again, even if their renewed collaboration was destined to be short-lived. (

Magic and Loss (1992)

01 – Dorita
02 – What’s Good
03 – Power and Glory
04 – Magician
05 – Sword of Damocles
06 – Goodby Mass
07 – Cremation
08 – Dreamin’
09 – No Chance
10 – Warrior King
11 – Harry’s Circumcision
12 – Gassed and Stoked
13 – Power and Glory, Pt. 2
14 – Magic and Loss


With 1982’s The Blue Mask, Lou Reed began approaching more mature and challenging themes in his music, and in 1992, Reed decided it was time to tackle the Most Serious Theme of All — Death. Reed lost two close friends to cancer within the space of a year, and the experience informed Magic and Loss, a set of 14 songs about loss, illness, and mortality.

It would have been easy for a project like this to sound morbid, but Reed avoids that; the emotions that dominate these songs are fear and helplessness in the face of a disease (and a fate) not fully understood, and Reed’s songs struggle to balance these anxieties with bravery, humor, and an understanding of the notion that death is an inevitable part of life — that you can’t have the magic without the loss.

It’s obvious that Reed worked on this material with great care, and Magic and Loss contains some of his most intelligent and emotionally intense work as a lyricist. However, Reed hits many of the same themes over and over again, and while Reed and his accompanists — guitarist Mike Rathke, bassist Rob Wasserman, and percussionist Michael Blair — approach the music with skill and impeccable chops, many of these songs are a bit samey; the album’s most memorable tunes are the ones that pull it out of its mid-tempo rut, like the grooving “What’s Good” and the guitar workout “Gassed and Stoked.”

Magic and Loss is an intensely heartfelt piece of music, possessing a taste and subtlety one might never have expected from Reed, but its good taste almost works against it; it’s a sincere bit of public mourning, but perhaps a more rousing wake might have been a more meaningful tribute to the departed. (

Set the Twilight Reeling (1996)

01 – Egg Cream
02 – NYC Man
03 – Finish Line
04 – Trade In
05 – Hang on to Your Emotions
06 – Sex With Your Parents (Motherfucker), Pt. II [Live]
07 – Hookywooky
08 – The Proposition
09 – Adventurer
10 – Riptide
11 – Set the Twilight Reeling


After contemplating the decline of New York City, the passing of his mentor Andy Warhol Noteworthy-Art-Basel-Buys Mar-08 , his place in (perhaps) the greatest American rock band Harmonix-Profile of all time, and the very nature of life and death, in 1996 Lou Reed finally began to consider a really important subject — where to get a good chocolate egg cream.

“Egg Cream” kicked off Set the Twilight Reeling, and for many fans it was a kick to hear Reed cranking up his amps and having some fun again, but much of the rest of the album turned out not to be as lightweight as the opener would have led you to expect. On Set the Twilight Reeling, Reed is preoccupied with relationships, as he tries to figure if he wants a long-term commitment (“Trade In”), if he’s better off as a lone wolf (“NYC Man”), if he’s in love (“The Proposition”), or if he just wants to fool around (“Hookywooky”).

Reed rocks a lot harder here than on the two albums that preceded it (and plays plenty of great crunchy guitar), but much of the album is set in a mellow mid-tempo groove that’s casual and comfortable but not especially compelling. And while “Sex With Your Parents (Motherfucker), Pt. II” is an amusing attack on conservative politicians, his logic isn’t exactly clear.

Longtime fans are no doubt grateful that Reed’s relatively unfocused and unsubstantial albums these days are such a vast improvement over his fallow period in the 1970s, but for the most part Set the Twilight Reeling sounds like a standard issue 1990s Lou Reed album — smart, well-crafted, with plenty of guitar, but nothing terribly special, either. (

Ecstasy (2000)

01 – Paranoia Key of E
02 – Mystic Child
03 – Mad
04 – Ecstasy
05 – Modern Dance
06 – Tatters
07 – Future Farmers of America
08 – Turning Time Around
09 – White Prism
10 – Rock Minuet
11 – Baton Rouge
12 – Like a Possum
13 – Rouge
14 – Big Sky


Never let it be said that Lou Reed has lost the ability to surprise his audience; who would have thought that at the age of 58, on his first album of the new millennium, Reed would offer us an 18-minute guitar distortion workout with lyrics abut kinky sex, dangerous drugs, and (here’s the surprise) imagining what it would be like to be a possum? For the most part, Ecstasy finds Reed obsessed with love and sex, though (as you might expect) his take on romance is hardly rosy (“Paranoia Key of E,” “Mad,” and “Tatters” all document a relationship at the point of collapse, while “Baton Rouge” is an eccentric but moving elegy for a love that didn’t last) and Eros is usually messy (“White Prism”), obsessive (“Ecstasy”), or unhealthy and perverse (“Rock Minuet”).

Reed genuinely seems to be stretching towards new lyrical and musical ground here, but while some of his experiments work, several pointedly do not, with the epic “Like a Possum” only the album’s most spectacular miscalculation. Still, Reed and producer Hal Wilner take some chances with the arrangements that pay off, particularly the subtle horn charts that dot several songs, and Reed’s superb rhythm section (Fernando Saunders on bass and Tony “Thunder” Smith on drums) gives these songs a rock-solid foundation for the leader’s guitar workouts.

As Reed and his band hit fifth gear on the album’s rousing closer, “Big Sky,” he once again proves that even his uneven works include a few songs you’ll certainly want to have in your collection — as long as they’re not about possums. (

The Raven (2003)

01 – Overture
02 – Edgar Allan Poe
03 – Call On Me
04 – The Valley of Unrest
05 – A Thousand Departed Friends
06 – Change
07 – The Bed
08 – Perfect Day
09 – The Raven
10 – Balloon
11 – Broadway Song
12 – Blind Rage
13 – Burning Embers
14 – Vanishing Act
15 – Guilty
16 – I Wanna Know (The Pit and the Pendulum)
17 – Science of the Mind
18 – Hop Frog
19 – Tripitena’s Speech
20 – Who Am I (Tripitena’s Song)
21 – Guardian Angel

>download part1
>download part2

Edgar Allan Poe was a man who usually looked on the dark side of life, had more than a few less-than-healthy romantic and sexual obsessions, was known to dabble in dangerous drugs, and was fascinated with the possibilities of the English language, so it’s no wonder why Lou Reed regards Poe as a kindred spirit.

In his liner notes to the album The Raven, Reed touches on the parallels between their work when he writes, “I have reread and rewritten Poe to ask the same questions again. Who am I? Why am I drawn to do what I should not?…Why do we love what we cannot have? Why do we have a passion for exactly the wrong thing?” Reed’s obsession with Poe’s work found a creative outlet when visionary theatrical director Robert Wilson commissioned Reed to adapt Poe’s works to music for a production called POE-Try, and The Raven collects the material Reed wrote for this project, as well as a number of dramatic interpretations of Poe’s work, featuring performances by Willem Dafoe, Steve Buscemi, Elizabeth Ashley, Amanda Plummer, and others.

The limited-edition two-disc version of The Raven gives a nearly equal balance to words and music; while the single-disc edition is dominated by Reed’s songs, the double-disc set features a much greater number of spoken-word pieces, most of which have been filtered through Reed’s imagination, with a more intense focus on sex, drugs, and conflict as a result.

While the condensed version of The Raven sounds like one of the oddest and most audacious rock albums of recent memory, the complete edition feels more like a lengthy performance piece (albeit a rather unusual one), and while it lacks something in the way of a central narrative, the focus on the letter as well as the spirit of Poe’s work seems a great deal clearer here. The pitch of the acting is sometimes a bit sharp (especially Dafoe, who seems to be projecting to the last row of the balcony), but the con brio performances certainly suit the tenor of the material and Poe’s writing style. Musically, The Raven is all over the map, leaping from low-key acoustic pieces to full-bore, window-rattling rock & roll, with a number of stops along the way.

Reed also touches more than casually on his own past as well, with new recordings of “The Bed” and “Perfect Day” added to the sequence, and for a man not known for his ability to collaborate well, The Raven is jam-packed with guest artists, including David Bowie , the Five Blind Boys of Alabama, Kate and Anna McGarrigle, Ornette Coleman, and Laurie Anderson, all of whom are used to their best advantage.

The mix of ingredients on The Raven is heady, and the result is more than a little bizarre, but there’s no mistaking the fact that Reed’s heart and soul are in this music; even the most oddball moments bleed with passion and commitment, whether he’s handing the vocal mic over to Buscemi for a faux-lounge number, conjuring up brutal guitar distortion while his band wails behind him, or confronting his fears and desires with just a piano to guide him.

Truth to tell, Reed hasn’t sounded this committed and engaged on record since Magic and Loss over a decade before; The Raven reaches for more than it can grasp, especially in its two-hours-plus expanded edition, and is dotted with experiments that don’t work and ideas that don’t connect with their surroundings.

But the good stuff is strong enough that anyone who cares about Lou Reed’s body of work, or Edgar Allan Poe’s literary legacy, ought to give it a careful listen.

The edition contained herein, ladies and gentlemen, is the double disc version!

Big thanks to the original posters

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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.

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September 16, 2008 Posted by | David Bowie, John Cale, Lou Reed, Music_Alternative, Music_ClassicRock, Music_Punk, _MUSIC | 1 Comment

VA – The Best Beatles Tribute (2007)

VA – The Best Beatles Tribute (2007)
177 MB | VA | MP3 @ 256 Kbps VBR | Stereo | 44.1 Hz

We know nothing about the origins of this rather strange collection. But we are big Beatles fans!

We’re not sure what eclectic means – cos we never been having no schooling or word learning neither, back there in our cabin!! – but this selection is truly fucking eclectic!

Ranging a vast spectrum from the sublime (The Smiths, Michael Penn, Aimee Mann, David Bowie, Frank Sinatra, Joe Cocker, Jimi Hendrix, Jeff Healey, et al) to the ridiculous (Phil Fucking Collins, Elton Fucking John, Bee Gees, Ben Folds,Styx et al), this is the proverbial “mixed bag”!!

Some interesting versions here, however. Thank Satan though for the ability to delete tracks!

What the hell is The Doors’ Light My Fire going in here?

Did Ringo really write Light My Fire? Yap, he probably did!

liar, fire, mire, pyre, fire, higher, fire, mire …. pure genius!!


01. Aerosmith – Come Together
02. Aerosmith – Helter Skelter
03. Aimee Mann – Lucy In The Sky With Diamonds
04. Aimee Mann and Michael Penn – Two of Us
05. Badfinger – Come And Get It
06. Bee Gees – A Day In The Life
07. Ben Folds – Golden Slumbers
08. Ben Harper – I Am Sam Soundtrack-Strawberry Fields Forever
09. David Bowie – Penny Lane
10. Earth Wind And Fire – Got to get you into my life
11. Elton John – Lucy In The Sky With Diamonds
12. Eyes – Good Day Sunshine
13. Frank Sinatra – Something
14. Grateful Dead – Jerry Garcia Band – Dear Prudence
15. Jeff Beck & George Martin – A day in the life
16. Jeff Healey Band – Yer Blues
17. Jimi Hendrix – Sgt. Pepper’s Lonely Hearts Club Band
18. Joe Cocker – Let it Be
19. Joe Cocker – She Came In Through The Bathroom Window
20. Joe Cocker – With a little help from my friend
21. Joe Cocker – Something
22. Michael Hedges – Mother Nature’s Son
23. Michael Hedges – Tomorrow Never Knows
24. Michael Hedges – While my Guitar Gently Weeps
25. Phil Collins – Tomorrow Never Knows
26. Spooky Tooth – I Am The Walrus
27. Steve Wariner – Get Back
28. Stevie Ray Vaughn – Taxman
29. Styx – I Am The Walrus
30. The Family Cat – Across the Universe
31. The Smiths – Across The Universe
32. The Tingling Mother’s Circus – Yellow Submarine
33. The Doors – Light My Fire
34. Todd Rundgren & BourgeoisTagg – Tomorrow Never Knows live
35. Toto – While My Guitar Gently Weep
36. Tuck & Patti – Honey Pie

Here not be the beats;



Big thanks to the original poster

August 31, 2008 Posted by | Aimee Mann, David Bowie, Frank Sinatra, Jimi Hendrix, Joe Cocker, Michael Penn, The Beatles, The Smiths | 1 Comment

Mercury Rev – Back To Mine (2006) @320

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Mercury Rev – Back To Mine
Released in 2006
Mp3 @320kbps / 142 Mb / 2 RARs
A wonderfully eclectic and excellent compilation via the boys from Rev!

Yap, this 2006 compilation was handpicked by Alternative heroes Mercury Rev and features many songs that have influenced them as well as a few current favorites.

Amongst the array of great talent here are Suicide, David Bowie, Nico, Alex Chilton, Galaxie 500, Billie Holliday and John Cale. There are also some more obscure music – including an amazing Nicolai Dunger track.

I could live without the awful Terry Jacks track though! Thank fuck for delete buttons!

And, if that’s not enough, there’s a brand new Mercury Rev track, ‘Cecilia’s Lunar Expose’, recorded specifically for this collection!

Get downloading now mofos!!

As one might expect from a band as eclectic as Mercury Rev, their late-night mixtape compilation offers a selection of style and genres, incorporating legends (Billie Holiday, George Jones, Nico, Pharoah Sanders and Randy Newman) alongside more outré talents. What’s also no surprise, given the layered approach of their early albums, is the elegant congruence of many of the segues: the opening link from Bowie’s “A New Career in a New Town” to Johan Johannsson’s “Hotel Borg”, for instance, is all about shared intent and melodic echoes, while the move from John Cale’s “Days of Steam” to Andrew Bird’s “Opposite Day” involves the subtlest of shifts from viola to violin.

The most sustained progress, however, is from the band’s “Cecilia’s Lunar Exposé”, a slice of Saucerful Of Secrets-era Floydism, through the Neu!-style groove of Spacemen 3’s “Big City”, to the erotic trance-scape of Suicide’s “Dream Baby Dream”, a beautifully modulated arc for the more ambitious musical explorers, with childlike comforts furnished by “Seasons In the Sun” and “When You Wish Upon A Star”.

Highlights :’Days Of Steam’, ‘Big City’, ‘Dream Baby Dream’, ‘Cecilia’s Lunar Exposé’


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1. A New Career In A New Town – David Bowie
2. Hotel-Borg – Johan Johannsson
3. Seasons In The Sun – Terry Jacks
4. When Will You Come Home – Galaxie 500
5. I’m A Fool To Want You – Billie Holliday
6. Days Of Steam – John Cale
7. Opposite Day (Reprise) – Andrew Bird
8. The Grand Tour (Clean Version) – George Jones
9. If I Were A Little Star – Nicolai Dunger
10. Wrap Your Troubles In Dreams – Nico
11. Cecilia’s Lunar Expose – Mercury Rev
12. Big City – Spacemen 3
13. Dream Baby Dream – Suicide
14. Let Me Get Close To You – Alex Chilton
15. Astral Traveling – Pharoah Sanders
16. Cast Anchor – Hanne Hukkleberg
17. Uncle Bob’s Midnight Blues – Randy Newman
18. When You Wish Upon A Star – Cliff Edwards

Here she be:




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August 19, 2008 Posted by | Alex Chilton, Billie Holiday, David Bowie, Galaxie 500, Hanne Hukkelberg, John Cale, Mercury Rev, Music_Alternative, Music_Electronica, Nicolai Dunger, Suicide, Various Artists, _MUSIC | Leave a comment

David Bowie – Vampires Of Human Flesh (Scary Monsters Outtakes)

David Bowie – Vampires Of Human Flesh
(Scary Monsters Outtakes)

This is a nice collection of demo and alternate versions of numbers from the Scary Monsters (and Super Creeps!) album.

One song, Is There Life After Marriage is actually unreleased, and is an upbeat instrumental excursion which is certainly good enough to have been on the final release.

After the original master to this commercially released bootleg was confiscated, in 1996 it was re-released as an identical reproduction, only distinguished by a light brown background on its front and rear sleeve, instead of white. Both versions had the same superb audio quality and disk art as well.

Nice artwork too, especially the rear cover which pictures Bowie’s Scary Monsters costume on a stand – looking like something from a transvestite bear’s wardrobe!

This diamond (no dogs!) is one the rarest of beasts – a great sounding outtakes session of late 70’s David Bowie.

Apparently, ‘Scary Monsters’ was a song he had written with the thought of offering it to Johnny Cash? How wierd would that have been?


1 Scream Like a Baby 3:21
2 Because You’re Young 4:54
3 Kingdom Come 4:00
4 Up the Hill Backwards 3:23
5 It’s no Game 3:55
6 Is There Life After Marriage 4:38
7 Up the Hill Backwards 3:18
8 Teenage Wildlife 7:10
9 Kingdom Come 3:58
10 Scary Monsters 5:11

here be Davy:

part 1

part 2

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August 11, 2008 Posted by | David Bowie, Music_Bootleg, Music_ClassicRock, _MUSIC | Leave a comment

David Bowie : Sound & Vision (Box Set)

David Bowie : Sound & Vision (Box Set)
Released September 19, 1989 (1989-09-19) (original) / December 2, 2003 (2003-12-02) (reissue)
Recorded 1969-1980 (original) / 1969-1993 (reissue)
Genre Rock, Glam, Art rock
Length 196:38 (original) /298:03 (reissue)
Label Rykodisc/EMI/Virgin Records
Producer David Bowie, Ken Scott, Tony Visconti, Harry Maslin (original and reissue)
Giorgio Moroder, Nile Rodgers, Derek Bramble, Hugh Padgham, David Richards, Tin Machine, Tim Palmer (reissue)

Sound + Vision is David Bowie’s box set compilation originally released on Rykodisc in 1989.

This is the third version, issued by Virgin/EMI in 2003, included all of the audio tracks from the original set and added a fourth audio CD.

Sound + Vision is an anomaly among box sets in that it contains few of Bowie’s greatest hits in their original form, instead frequently opting for demos, live versions and even a German vocal version of “Heroes” (“Helden”).

The reason for the quixotic tracklisting is that it was originally conceived in 1989 as less of a comprehensive career retrospective than as a “teaser” for the then-upcoming Rykodisc CD reissue campaign covering Bowie’s output from 1969 to 1980.

As a result of this commercial logic, none of the “rarities” originally included on the 1989 edition of Sound + Vision (e.g. the rare single versions of “Wild-Eyed Boy From Freecloud” and “Rebel Rebel,” or the previously unreleased studio outtakes “London Bye Ta-Ta,” “1984/Dodo,” “After Today,” or “It’s Hard To Be A Saint In The City”) were included as bonus tracks on the Rykodisc editions of Bowie’s albums.

Conversely, given this boxed set’s initial conception as an “extended sampler,” the compilers felt little need to include all of Bowie’s hits, choosing instead to give every album equal coverage. Nor did they feel compelled to include other sought-after rarities on the set, since they could be found on the Rykodisc CDs.

The set won the 1990 Grammy Award for Best Album Package, including Album Cover, Graphic Arts, with photography by Roger Gorman.


CD one

1. “Space Oddity” (Demo version)
2. “The Wild Eyed Boy from Freecloud” (includes spoken intro)
3. “The Prettiest Star” (Single version)
4. “London Bye Ta-Ta” (previously unreleased stereo mix)
5. “Black Country Rock”
6. “The Man Who Sold the World”
7. “The Bewlay Brothers”
8. “Changes”
9. “Round and Round” (alternate vocal)
10. “Moonage Daydream”
11. “John, I’m Only Dancing”
12. “Drive-In Saturday”
13. “Panic in Detroit”
14. “Ziggy Stardust” (Live)
15. “White Light White Heat” (Live)
16. “Rock ‘N’ Roll Suicide” (Live)
17. “Anyway, Anyhow, Anywhere”
18. “Sorrow”
19. “Don’t Bring Me Down”

CD two

1. “1984/Dodo”
2. “Big Brother”
3. “Rebel Rebel”
4. “Suffragette City” (Live)
5. “Watch That Man” (Live)
6. “Cracked Actor” (Live)
7. “Young Americans”
8. “Fascination”
9. “After Today”
10. “It’s Hard to Be a Saint in the City”
11. “TVC 15”
12. “Wild Is the Wind”
13. “Sound and Vision”
14. “Be My Wife”
15. “Speed of Life”
16. “Helden”
17. “Joe the Lion”
18. “Sons of the Silent Age”

CD three

1. “Station to Station” (Live)
2. “Warszawa” (Live)
3. “Breaking Glass” (Live)
4. “Red Sails”
5. “Look Back in Anger”
6. “Boys Keep Swinging”
7. “Up the Hill Backwards”
8. “Kingdom Come”
9. “Ashes to Ashes”
10. “Baal’s Hymn” (Kurt Weill) (from Baal, 1982) (previously unreleased on CD) – 4:00
11. “The Drowned Girl” (Bertolt Brecht, Weill) (from Baal, 1982) (previously unreleased on CD) – 2:24
12. “Cat People (Putting Out Fire)” (Bowie, Giorgio Moroder) (from Cat People Original Soundtrack, 1982) – 6:41
13. “China Girl” (Bowie, Iggy Pop) (from Let’s Dance, 1983) – 5:32
14. “Ricochet” (from Let’s Dance, 1983) – 5:14
15. “Modern Love” (Live) (from “Modern Love” b-side, 1983) (previously unreleased on CD) – 4:47
16. “Loving the Alien” (from Tonight, 1984) – 7:10
17. “Dancing with the Big Boys” (Bowie, Pop, Alomar) (from Tonight, 1984) – 3:34

CD four

1. “Blue Jean” (from Tonight, 1984) – 3:10
2. “Time Will Crawl” (from Never Let Me Down, 1987) – 4:18
3. Tin Machine: “Baby Can Dance” (from Tin Machine, 1989) – 4:57
4. Tin Machine: “Amazing” (Bowie, Reeves Gabrels) (from Tin Machine, 1989) – 3:04
5. Tin Machine: “I Can’t Read” (Bowie, Gabrels) (from Tin Machine, 1989) – 4:54
6. Tin Machine: “Shopping for Girls” (Bowie, Gabrels) (from Tin Machine II, 1991) – 3:44
7. Tin Machine: “Goodbye Mr. Ed” (Bowie, Tony Sales, Hunt Sales) (from Tin Machine II, 1991) – 3:24
8. Tin Machine: “Amlapura” (Bowie, Gabrels) (from Tin Machine II, 1991) – 3:46
9. “You’ve Been Around” (Bowie, Gabrels) (from Black Tie White Noise, 1993) – 4:45
10. “Nite Flights” (Moodswings Back to Basics remix radio edit) (N. Scott Engels) (previously unreleased, original version from Black Tie White Noise, 1993) – 4:35
11. “Pallas Athena” (from Black Tie White Noise, 1993) – 4:21
12. “Jump They Say” (from Black Tie White Noise, 1993) – 4:22
13. “The Buddha of Suburbia” (from The Buddha of Suburbia, 1993) – 4:28
14. “Dead Against It” (from The Buddha of Suburbia, 1993) – 5:48
15. “South Horizon” (from The Buddha of Suburbia, 1993) – 5:26
16. “Pallas Athena” (Live) (from “Seven Years in Tibet” B-side, 1997) – 8:18

All songs written by David Bowie unless otherwise indicated.

Sound + Vision [2003 Box] Disc 1

Sound + Vision [2003 Box] Disc 2

Sound + Vision [2003 Box] Disc 3

Sound + Vision [2003 Box] Disc 4

David Bowie – Sound and vision – live

An amazing performance!!!

From: chocolateheroine

Big thanks to the original posters

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August 8, 2008 Posted by | David Bowie, Music_ClassicRock, _MUSIC, _VIDEO | 3 Comments

David Bowie – Full Discography

David Bowie – Full Discography

Discography – Easy-Share:

David Bowie (1966) => 34,50 MB
Space Oddity (1969) => 51,32 MB
The Man Who Sold the World (1970) => 48,73 MB
Hunky Dory (1971) => 58,38 MB
The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) => 57,37 MB
Aladdin Sane (1973) => 50,15 MB
Pin Ups (1973) => 36,93 MB
Diamond Dogs (1974) => 42,00 MB
Young Americans (1975) => 48,97 MB
Station to Station (1976) => 51,17 MB
Low (1977) => 47,85 MB
“Heroes” (1977) => 42,69 MB
Lodger (1979) => 42,58 MB
Scary Monsters (and Super Creeps) (1980) => 53,82 MB
Christiane F. (1981) => 40,79 MB
16. Let’s Dance (1983) => 43,96 MB
Ziggy Stardust The Motion Picture (1983) => 63,24 MB

18. Tonight (1984) => 38,93 MB

19. Labyrinth (1986) => 39,23 MB

20. Never Let Me Down (1987) => 59,53 MB

21. Tin Machine (with Tin Machine) (1989) => 45,53 MB

22. Tin Machine II (with Tin Machine) (1991) => 52,02 MB

23. Black Tie White Noise (1993) => 60,64 MB

24. The Buddha of Suburbia (1993) => 50,45 MB

25. The Singles Collection (1993) => 69,32 MB => 68,06 MB

26. Outside (1995) => 70,69 MB

27. Earthling (1997) => 45,54 MB

28. Hours (1999) => 41,21 MB

29. Duos (2000) => 29,34 MB

30. Heathen (2002) => 47,23 MB

31. Reality (2003) => 54,45 MB => 12,78 MB

Discography – Rapidshare / Other Hosts:

David Bowie (1967)

Space Oddity (1969)

The Man Who Sold the World (1970)

Hunky Dory (1971)

The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

Alladin Sane (1973)

Pin Ups (1973)

Diamond Dogs (1974)

Live at the Tower Philadelphia (1974)

Young Americans (1975)

Station to Station (1976)

Low (1977)

Heroes (1977)

Lodger (1979)

Stage (1978)

Scary Monsters… And Super Creeps (1980)

Let’s Dance (1983)

Tonight (1984)

Ziggy Stardust the motion picture (1983)

Labyrinth (1986)

Never Let Me Down (1987)

David Bowie & Stevie Ray Vaughan: Dallas Moonlight, Vol. 1 & 2 (1983)

A reality tour

ChangesOneBowie (1976),2.jpg


Diamond Dogs (30th Annivesary Edition)

David Bowie With Mott The Hoople, Lou Reed & The Spiders From Mars – The Legendary Lost Tapes (1973)

The Best Of

Best of… 1969-74

Best of … 1974-1979

David Bowie and David Gilmore Filmography

The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

String Quartet Tribute to David Bowie!


The All American Bowie (1973) – Bootlegs

Drive In Saturday (1972)

David Bowie – Class Of’74 Volume 2 (1974)

The Wembley Wizard Is Back On The Line (2003)

David Bowie & Iggy Pop – Mantra Studios (1977)

Seven Years in Tibet (Mandarin version)

Héros (Heroes – French version)

Ragazzo solo, ragazza sola

Volare (Absolute Beginners Soundtrack)

David Bowie – Club Bowie


Station To North Station (1976)

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August 8, 2008 Posted by | David Bowie, Music_ClassicRock, Music_DISCOGRAPHY, _MUSIC | Leave a comment

David Bowie – Pin Ups (1973)
David Bowie – Pin Ups (1973)
Mp3 / 36,93 MB
Released: October 19, 1973 (1973-10-19)
Recorded: July 1973, Château d’Hérouville, Pontoise, France
Genre: Rock/Glam rock
Length: 33:42
Label: RCA
Producer: Ken Scott, David Bowie

This is an excellent collection of covers released by Bowie back in 73.

We’ve already posted a great vinyl rip of this album’s single “Sorrow” with the B-side of Jacque Brel’s great “Amsterdam” HERE!

Pin Ups was the 1973 covers album by Bowie, released by RCA. It was his last studio album recorded with the bulk of ‘The Spiders From Mars’, his backing band throughout his Ziggy Stardust phase.

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 April 30, 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.

The hotty on the cover with Bowie is skinny Brit 60s supermodel Twiggy.


1. “Rosalyn” (Jimmy Duncan, Bill Farley) – 2:27
2. “Here Comes the Night” (Bert Berns) – 3:09
3. “I Wish You Would” (Billy Boy Arnold) – 2:40
4. “See Emily Play” (Syd Barrett) – 4:03
5. “Everything’s Alright” (Nickey Crouch, John Konrad, Simon Stavely, Stuart James, Keith Karlson) – 2:26
6. “I Can’t Explain” (Pete Townshend) – 2:07
7. “Friday on My Mind” (George Young, Harry Vanda) – 3:18
8. “Sorrow” (Bob Feldman, Jerry Goldstein, Richard Gottehrer) – 2:48
9. “Don’t Bring Me Down” (Johnnie Dee) – 2:01
10. “Shapes of Things” (Paul Samwell-Smith, Jim McCarty, Keith Relf) – 2:47
11. “Anyway, Anyhow, Anywhere” (Townshend, Roger Daltrey) – 3:04
12. “Where Have All the Good Times Gone” (Ray Davies) – 2:35

Note: On the original LP album release, side one was comprised of tracks 1-6; side two of tracks 7-12


* David Bowie – vocals, guitar, tenor and alto sax, harmonica, arrangements, backing vocals, Moog synthesizer [6]
* Mick Ronson – guitar, piano, vocals, arrangements [6]
* Trevor Bolder – bass
* Aynsley Dunbar – drums

* David Bowie – producer
* Ken Scott – producer

Here be pin-ups;
Big thanks to the original poster

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August 8, 2008 Posted by | David Bowie, Music_ClassicRock, Music_DISCOGRAPHY, _MUSIC | Leave a comment

David Bowie: Sorrow / Amsterdam – 7" Single (1973)

David Bowie: Sorrow /Amsterdam – 7″ single
Mp3 @ @224
Released October 1973
A-side: “Sorrow” (Bob Feldman, Jerry Goldstein, Richard Gottehrer)
B-side: “Amsterdam” (Brel, Shuman)

Genre: Rock / Length 2:53 / Label RCA
Producer: Ken Scott, David Bowie
With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
This was a 7″ Bowie single from 1973 and has kindly been ripped from vinyl @224 by sunbathinglizard.

Pin Ups cover
“Sorrow” comes from Bowie’s Pin-Ups LP, his album of cover versions from 1973.

The song “Sorrow” was written by Bob Feldman, Jerry Goldstein, and Richard Gottehrer.

It was first recorded by The McCoys and became a big hit in the United Kingdom in a version by The Merseys in 1966.

The song contains the lyric “with your long blonde hair and your eyes of blue”, which is also referenced in the The Beatles‘ track “It’s All Too Much” from Yellow Submarine.

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
You acted funny trying to spend my money
You’re out there playing your high class games of sorrow

You never do what you know you oughta
Something tells me you’re a Devil’s daughter
Sorrow, sorrow
Ahhhh, ah, ahhhh

I tried to find her
‘Cause I can’t resist her (I tried to find her)
I never knew just how much I missed her

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow

With your long blonde hair
I couldn’t sleep last night
With your long blonde hair

Bowie’s remake of “Sorrow” was the only single released in the UK from the Pin Ups covers project, reaching UK #3 and staying in the charts for 15 weeks.

“Sorrow” and “Amsterdam”were recorded at Château d’Hérouville, Pontoise, France in July 1973. B-side, “Amsterdam”, was a cover of the wonderful Belgian songwriter Jacques Brel’s song, originally called “Port of Amsterdam”, which had been performed live by Bowie since 1969.

Bowie actually first recorded “Amsterdam” in 1971 for the Ziggy Stardust album but the track was dropped from the final release. It was included here as it was considered to fit well with “Sorrow”.

Actually, in France, “Amsterdam” was billed as the A-side of the single!

Another geography based curiosity regarding this single was the fact that the Spanish release had “Lady Grinning Soul” as the B-side! Guess they don’t like Belgians in Spanishland!

“Sorrow” wold also later appear on the following compilations:

* Chameleon (Australia/New Zealand 1979)
* Best of Bowie (1980)
* Sound and Vision box set (1989)
* The Singles Collection (1993)
* The Best of 1969/1974 (1997)
* Best of Bowie (2002)


1. “Sorrow” (Bob Feldman, Jerry Goldstein, Richard Gottehrer) – 2:53
2. “Amsterdam” (Jacques Brel, Mort Shuman) – 2:39


* Producer: David Bowie

* Musicians:

David Bowie: Vocals, Guitar
Mick Ronson: Guitar on “Sorrow”
Trevor Bolder: Bass on “Sorrow”
Mike Garson: Piano on “Sorrow”
Aynsley Dunbar: Drums on “Sorrow”

Here be sorrow


Big thanks to sunbathinglizard

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August 8, 2008 Posted by | David Bowie, Jacques Brel, Music_ClassicRock, _MUSIC, _POETRY | 3 Comments

Iggy Pop – Lust For Life ( 1977 )

Iggy Pop – Lust For Life (1977)

Hey man, where’d ya get that lotion?

This is a classic album by the Igster. One of his greatest works.

Lust for Life was his second solo release and his second collaboration with David Bowie, following The Idiot a few months earlier.

As well as achieving critical success, it was Pop’s most commercially popular album to date, and remains his highest-charting release in the UK. The title track gained further exposure two decades later when it was featured on the soundtrack of the film Trainspotting (1996).

The Lust for Life sessions took place soon after the completion of a concert tour in support of the The Idiot album, the tour ending on 16 April 1977. Pop has stated, “David and I had determined that we would record that album very quickly, which we wrote, recorded, and mixed in eight days, and because we had done it so quickly, we had a lot of money left over from the advance, which we split.” The singer slept little during its making, commenting “See, Bowie’s a hell of a fast guy… I realized I had to be quicker than him, otherwise whose album was it gonna be?” Pop’s spontaneous lyrical method inspired Bowie to improvise his own words on his next project, “Heroes”.

Bowie, Pop and engineer Colin Thurston produced Lust for Life under the pseudonym “Bewlay Bros.” (name via the final track on Bowie’s Hunky Dory).

The recording was made at Hansa Studio by the wall in Berlin and featured Ricky Gardiner and Carlos Alomar on guitars with Hunt and Tony Sales on drums and bass, respectively. With Bowie on keyboards and backing vocals, the team included three-quarters of the future Tin Machine line-up; the Sales brothers’ “gale-force” contribution to this album led Bowie to invite them to join his new band twelve years later (“Check out Lust For Life,” he told guitarist Reeves Gabrels, “I’ve found the rhythm section!”). few months earlier, on The Idiot, Iggy Pop had looked deep inside himself, trying to figure out how his life and his art had gone wrong in the past. But on Lust for Life, released less than a year later, Iggy decided it was time to kick up his heels, as he traded in the mid-tempo introspection of his first album and began rocking hard again.

Musically, Lust for Life is a more aggressive set than The Idiot, largely thanks to drummer Hunt Sales and his bassist brother Tony Sales. The Sales’ proved they were a world class rhythm section, laying out power and spirit on the rollicking title cut, the tough groove of “Tonight,” and the lean neo-punk assault of “Neighborhood Threat”.

With guitarists Ricky Gardner and Carlos Alomar at their side, they made for a tough, wiry rock & roll band — a far cry from the primal stomp of the Stooges, but capable of kicking Iggy back into high gear. (David Bowie played piano and produced, as he had on The Idiot, but his presence is less clearly felt on this album.)

As a lyricist and vocalist, Iggy Pop rose to the challenge of the material; if he was still obsessed with drugs (“Tonight”, decadence (“The Passenger”, and bad decisions (“Some Weird Sin”, the title cut suggested he could avoid a few of the temptations that crossed his path, and songs like “Success” displayed a cocky joy that confirmed Iggy was back at full strength.

On Lust for Life, Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking, Lust for Life is the best album of Iggy Pop’s solo career.

Lust for Life reached #28 in the UK Albums Chart and is still his highest-performing release in that country. Initially the album sold well in the US but the death of Elvis Presley caused RCA to quickly reissue Presley’s catalogue and any promotional focus for Pop’s album was lost.

It eventually performed well in America, but only peaked at #120 on the Billboard charts at the time of release. Rolling Stone’s contemporary review considered that “purely on its own terms, Lust for Life is a successful album” but complained that Pop’s “new stance is so utterly unchallenging and cautious”. “Success”, backed with “The Passenger”, was released as a single on 30 September 1977.

The sleeve photo was taken by Andy Kent, who also shot the cover for The Idiot.

Here comes Johnny in again

With the liquor and drugs

And a flesh machine

He’s gonna do another strip tease.

Hey man, where’d ya get that lotion?

I’ve been hurting since I’m up again

About something called love

Yeah, something called love.

Well, that’s like hypnotizing chickens.

Well, I’m just a modern guy

Of course, I’ve had it in the ear before.

I have a lust for life

‘Cause of a lust for life.

I’m worth a million in prizes

With my torture film

Drive a GTO

Wear a uniform

All on a government loan.

I’m worth a million in prizes

Yeah, I’m through with sleeping on the sidewalk

No more beating my brains

No more beating my brains

With liquor and drugs

With liquor and drugs.

Well, I’m just a modern guy

Of course, I’ve had it in my ear before

Well, I’ve a lust for life

‘Cause of a lust for life

I got a lust for life

Well, I’m just a modern guy

Of course, I’ve had it in my ear before

Well, I’ve a lust for life

‘Cause I’ve a lust for life.

Here comes Johnny in again

With the liquor and drugs

And a flesh machine

I know he’s gonna do another strip tease.

Hey man, where’d ya get that lotion?

Your skin starts itching once you buy the gimmick

about something called love

Love, love, love

Well, that’s like hypnotizing chickens.

Well, I’m just a modern guy

Of course, I’ve had it in the ear before

And I’ve a lust for life

‘Cause I’ve a lust for life

Got a lust for life

Yeah, a lust for life

Iggy Pop – Lust For Life (1977) – promo-video

Iggy Pop’s promo-video for ‘Lust For Life’ in 1977. This was used as a promo-video in Australia.

Tx RagePlays

The Igster meets a giant lady on a red road


1. “Lust for Life” – 5:13 (lyrics: Iggy Pop, music: David Bowie)
2. “Sixteen” – 2:26 (Pop)
3. “Some Weird Sin” – 3:42 (lyrics: Pop, music: Bowie)
4. “The Passenger” – 4:44 (lyrics: Pop, music: Ricky Gardiner)
5. “Tonight” – 3:39 (lyrics: Pop, music: Bowie)
6. “Success” – 4:25 (lyrics: Pop, music: Bowie, Gardiner)
7. “Turn Blue” – 6:56 (lyrics: Pop, Walter Lacey, music: Bowie, Warren Peace)
8. “Neighborhood Threat” – 3:25 (lyrics: Pop, music: Bowie, Gardiner)
9. “Fall in Love with Me” – 6:30 (lyrics: Pop, music: Bowie, Hunt Sales, Tony Sales)


* Iggy Pop – vocals
* David Bowie – keyboards, piano, backing vocals
* Carlos Alomar – guitar, backing vocals
* Ricky Gardiner – guitar, backing vocals
* Tony Sales – bass, backing vocals
* Hunt Sales – drums, backing vocals

Here’s Iggy;


Big thanks to the original poster

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July 23, 2008 Posted by | David Bowie, Iggy Pop, Music_ClassicRock, Music_Punk, _MUSIC | Leave a comment

David Bowie – The Singles 1969 – 1993 (2 Discs)

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David Bowie – The Singles 1969 – 1993 (2 Discs)
Mp3 / 2 discs /1 dl

A fine selection of singles from Mr Stardust!

Moving between Bowie as Ziggy Stardust, the Glam era, as The Genie, and through his more sombre moods and images, this album takes in the whole spectrum of Bowie’s musical career.

The album also includes his collaboration with Mick Jagger for Live Aid,’Dancing In The Street’, and the much sampled Queen duet ‘Under Pressure’.

This compilation is a definite buy for the new generation of Bowie fans and old alike. This double album contains nearly all of his UK single releases (the better ones) and some album tracks too! I can’t fault this album in any way – you definitely can listen to it time and time again without tiring of certain tracks.

The CD covers everything from Bowie’s Major Tom period through to the Ziggy Stardust and Thin White Duke phase and all of his 80’s hits. I found this album a great inspiration to go and buy the original albums afterwards, but this compilation is definitely sufficient enough. Buy it now and get The Video Collection to go with it!

-Amazon buyer


Disc 1

1. Space Oddity
2. Changes
3. Starman
4. Ziggy Stardust
5. Suffragette City
6. John, I’m only dancing
7. The Jean Genie
8. Drive in Saturday
9. Life on Mars?
10. Sorrow
11. Rebel Rebel
12. Rock & Roll Suicide
13. Diamond dogs
14. Knock on Wood
15. Young Americans
16. Fame
17. Golden Years
18. TVC 15
19. Sound & Vision
20. Beauty & The Beast

Disc 2

1. Heroes
2. Beauty & The Beast
3. Boys keep swinging
4. D.J.
5. Alabama song
6. Ashes to Ashes
7. Fashion
8. Scary Monsters (and super creeps)
9. Under pressure (featuring Queen)
10. Wild is the wind
11. Let’s Dance
12. China Girl
13. Modern love
14. Blue Jean
15. This is not America (featuring Pat Methany)
16. Dancing in the streets (featuring Mick Jagger)
17. Absolute beginners
18. Day-in Day-out
19. Jump They Say

Here be Davy Jones

Big thanks to matorba

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July 3, 2008 Posted by | David Bowie, Music_Alternative, Music_ClassicRock, _MUSIC | 1 Comment

David Bowie – Live – Olympic Stadium,Montreal, 1987'regan%20-%20Bowie%20Berlin%20Wall1%20-%20lores.jpgDavid Bowie – Live

Olympic Stadium
Montreal, Canada

30 August 1987

I’ll ruin everything you are
I’ll give you television
I’ll give you eyes of blue
I’ll give you men who want to rule the world

Davie Jones from 87, back when he was at the top of his game after a mid-eighties revival and a few decent albums (no, we’re not talking about Absolute Beginners here!!)


01 Intro/Up the Hill Backward
02 Glass Spider
03 Day In, Day Out
04 Bang Bang
05 Absolute Beginners
06 Loving the Alien
07 China Girl
08 Rebel Rebel
09 Fashion
10 Scary Monsters
11 All the Madmen
12 Never Let Me Down
13 Big Brother
14 ’87 and Cry
15 Heroes
16 Sons of the Silent Age
17 Time Will Crawl
18 Band Introduction
19 Young Americans
20 Beat of Your Drum
21 Jean Genie
22 Let’s Dance
23 Fame
24 Time
25 Blue Jean
26 Modern Love

Here be Davie:

Part 1


Part 2



Thanks to havedat

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April 8, 2008 Posted by | David Bowie, Music_Bootleg, Music_ClassicRock, _MUSIC | Leave a comment

David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (30th Anniversary Edition) (2CD)

[davie+bowie.jpg] Disc 1:

01 Five Years
02 Soul Love
03 Moonage Daydream
04 Stardust
05 It Ain’t Easy
06 Lady Stardust
07 Star
08 Hang On To Yourself
09 Ziggy Stardust
10 Suffragette City
11 Rock ‘n’ Roll Suicide

Disc 2:
01 Moonage Daydream (Arnold Corns Version)
02 Hang On To Yourself (Arnold Corns Version)
03 Lady Stardust (Demo)
04 Ziggy Stardust (Demo)
05 John I’m Only Dancing (single A-side from 1972)
06 Velvet Goldmine (single B-side from 1975, actually dates from the Hunky Dory sessions)
07 Holy Holy (1972 rerecording)
08 Amsterdam
09 The Supermen (1971 rerecording)
10 Round And Round
11 Sweet Head (Take 4)
12 Moonage Daydream (Alan Moulder Mix)

[davie+bowie.jpg]Here she be:

January 11, 2008 Posted by | David Bowie, Music_ClassicRock, _MUSIC | Leave a comment

David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (30th Anniversary Edition) (2CD)

[davie+bowie.jpg] Disc 1:

01 Five Years
02 Soul Love
03 Moonage Daydream
04 Stardust
05 It Ain’t Easy
06 Lady Stardust
07 Star
08 Hang On To Yourself
09 Ziggy Stardust
10 Suffragette City
11 Rock ‘n’ Roll Suicide

Disc 2:
01 Moonage Daydream (Arnold Corns Version)
02 Hang On To Yourself (Arnold Corns Version)
03 Lady Stardust (Demo)
04 Ziggy Stardust (Demo)
05 John I’m Only Dancing (single A-side from 1972)
06 Velvet Goldmine (single B-side from 1975, actually dates from the Hunky Dory sessions)
07 Holy Holy (1972 rerecording)
08 Amsterdam
09 The Supermen (1971 rerecording)
10 Round And Round
11 Sweet Head (Take 4)
12 Moonage Daydream (Alan Moulder Mix)

[davie+bowie.jpg]Here she be:

January 11, 2008 Posted by | David Bowie, Music_ClassicRock, _MUSIC | Leave a comment