Review: Tin Machine II is the second and final studio album by Tin Machine. It was rebased in 1991 by Victory Music and marked the last time Bowie fronted and toured with the band. After this he focused on his solo career but the album quietly, in the background, continued to pick up fans, praise and an increasing reputation. It's often cited as one of the best lost albums of the last millennium and is packed with strong tracks that power along on big, angular guitars with Bowie's vocals soaring up top. This is the first time the record has been on vinyl since its initial rase and comes on limited edition coloured wax.
Review: A year on from the untimely demise of arguably the most influential British musician of the last fifty years, and on the eve of what would have been his seventieth birthday, here we have the opportunity to view his whole jaw-dropping career across the course of two slabs of wax. From the cosmic dread of 'Space Oddity' all the way to the reflective melancholy of 'I Can't Give Everything Away', it's a magnificent testimony to a restless muse that never stopped moving into unchartered territory in search of new adventure. These songs will outlive us all.
Review: Surely not even the most ardent Bowie fan saw any of this coming. Yet to offset the justified grief and mourning at the most otherworldly and mercurial of all musical icons departing our realm, he's left us with one of his greatest albums to date and certainly his best in a full quarter century - one that returns him spiritually to the dizzying collision of bracing experimentation and melodious drama that typified the so-called Berlin trilogy of the '70s yet transplants that ambience to a new more complicated age. Jazzy inflections, electronic filigree and stark soundscapes collide elegantly amidst that stentorian voice, and whether or not Bowie put this together as a farewell, he couldn't have done it better if he'd tried. We'll truly never see his like again, alas.
Review: Legend has it that David Bowie was so lost in a vortex of cocaine and ego during the making of this record to such a degree that he now can't remember anything about its creation at all. Typically of the Dame though, in the midst of all this madness he created a masterpiece, and arguably his greatest album of all. With a hint of the funk of influence of 'Young Americans', yet filtered through a glacial European sensibility, it's a genre-transcending tour-de-force of boundless scope and imperious swagger. Forty-one years on, this record still sounds like the future.
David Bowie/The Rebels - "Revolutionary Song" (4:42)
Marlene Dietrich - "Just A Gigolo" (3:34)
Review: Here's something to get Bowie fans hot under the collar: a first worldwide pressing of the Thin White Duke's "Revolutionary Song", his only contribution to the soundtrack of 1978 West German flick "Just A Gigolo", in which he also starred alongside silver screen legend Marlene Dietrich. The song was recorded with a local band of musicians hastily dubbed "The Rebels" and sees Bowie in classic crooner mode, adding his distinctive vocals to a jangly, largely acoustic number that's effectively a folksy take on waltz. Over on side B there's a chance to enjoy one of Marlene Dietrich's last ever recordings: an atmospheric cover of 1930s cabaret standard "Just A Gigolo" which ended up being the movie's title track.
The Voyeur Of Utter Destruction (As Beauty) (4:53)
I Have Not Been To Oxford Town (4:20)
Andy Warhol (3:53)
Breaking Glass (3:44)
The Man Who Sold The World (3:43)
We Prick You (4:20)
A Small Plot Of Land (6:37)
Nite Flights (6:20)
Under Pressure (3:56)
Review: During the U.S leg of his 1995 Outside tour, David Bowie was supported by Nine Inch Nails. Trent Reznor and company not only opened the shows, but also joined forces with the legendary musican on joint performances of some of his songs. Now, some 24 years later, a recording of one of these legendary collaborative performances has finally been released. It's hugely evocative and atmospheric, with many of Bowie's great songs - particularly "Scary Monsters (and Super Creeps)", "Hallo Spaceboy", "The Heart's Filthy Lesson", "The Man Who Sold The World" and "Under Pressure" - benefitting from Nine Inch Nails' low-end grunt and razor-sharp guitars.
Young Person's Guide To The Orchestra, Op 34 (17:12)
Review: This recording of the Philadelphia Orchestra performing Sergei Prokofiev's 1936 story and orchestral score Peter and the Wolf was recorded in 1977 and was originally released in 1978. The role of the narrator on the recording was initially offered to both Peter Ustinov and Alec Guinness who both turned it down, before David Bowie agreed to take on the role, supposedly as a Christmas present to his son. On the B-side is another equally as charming piece of recent classical history, Benjamin Britten's Young Person's Guide To The Orchestra as narrated by Hugh Downs.