David Bowie - R.C.A. Nipper Series 1979 | VOODOO WAGON|Jobe

 Well here’s something of a curio that Jobe has dug up on the Wagon . . . . . . 

B ★ O ★ W ★ I ★ E  

RCA Nipper Radio Series

a mystery because nobody seems to know where it’s from. The entry of it on YouTube is something but misleading somewhat as it states it is Reel To Reel company ReelHiFi who sourced it and certainly shows the reel to reel concerned ( seemingly) although copies of it are held and to be found in American University libraries like Rice University who state it is an interview with Brian Eno which it patently ISN’T!

Whatever it is highly enjoyable and very good quality you can always rely on Jobe to turn up the goods . . . . the source of the dialogue with David? Who knows? Not me!

David Bowie download here . . . . .

David Bowie RCA Nipper radio series Part 1 (YouTube) here

David Bowie RCA Nipper radio series Part 2 (YouTube) here

David Bowie RCA Nipper radio series Part 3 (YouTube) here

RICE UNIVERSITY - Fondgren Library Archives

David Bowie - 2004-01-31 - Los Angeles, CA (IEM Aud Matrix) :: SO MANY ROADS

 It’s the weekend and what we need is some 

B ★ O ★ W ★ I ★ E

BOWIE - LA Jan 2004 - So Many Roads

David Bowie

2004-01-31

Shrine Auditorium

Los Angeles, CA

IEM Aud Matrix Recording

On September 16, 2003, Bowie released the album Reality, his 23rd studio disc. The album received mixed reviews but climbed to #29 on the Billboard charts in the US, and made it all the way to the #3 spot in the UK. On October 7, Bowie launched a world tour in support of the album, which included stops in North America, Europe, Asia and Australia. The tour was cut short in June, however, when after a show in Germany, Bowie was diagnosed with a blocked artery that required an angioplasty procedure. This IEM matrix recording captures Bowie during that tour, in Los Angeles, on January 31, 2004, 19 ago today.

Thanks Speedy!!

FLOPPY BOOT STOMP

B ★ O ★ W ★ I ★ E 

Tribute

BBC - BOWIE TRIBUTE [BBC Proms 2016]

B ★ O ★ W ★ I ★ E 

Nearly missed this one and 'Station to Station' fascinated me when it came out and we were all in the same place . . . . . . . somehow

we will continue to miss him . . . . . . . . 

On this day in music history: January 23, 1976 - “Station To Station” (or “StationToStation”), the tenth studio album by David Bowie is released. Produced by David Bowie and Harry Maslin, it is recorded at Cherokee Studios in Los Angeles, CA from October - November 1975. Following the major critical and commercial success of the album “Young Americans”, David Bowie plays the lead role in the film “The Man Who Fell To Earth”, directed by Nicolas Roeg (“Performance”). After filming wraps, Bowie returns to the studio to begin work on a new album. Having explored soul music on “Young Americans”, Bowie continues his “Thin White Duke” phase. He also becomes intrigued by German electronic bands such as Kraftwerk and Neu!, incorporating those musical stylings into the work in progress. The musical shift foreshadows the singers’ exodus from the US later in 1976 for Switzerland and Berlin, Germany. Bowie is also at the apex of his cocaine dependency at the time of the recording sessions. He later admits to not being able recall much of the work done, during the ten days it takes to record the album in his drug fueled haze. In spite of this, the sessions produce one of his most accessible and successful works, and marks another important transition in the chameleon like musicians’ career. It spins off two singles including “Golden Years” (#10 Pop) and “TVC 15” (#64 Pop). Shortly before its release, Bowie makes a now legendary appearance on the syndicated music show Soul Train performing “Golden Years” and “Fame”, airing on January 3, 1976. The album is remastered and reissued on CD and as a 180 gram vinyl LP as part of the box set “David Bowie: Who Can I Be Now? (1974 - 1976)”. “Station To Station” peaks at number three on the Billboard Top 200, and is certified Gold in the US by the RIAA.

" . . . . . . run for the shadows, run for the shadows . . . . . . . . . . 

B ★ O ★ W ★ I ★ E 

ongoing series from Jeff Harris of my picking singles (or albums) that I bought when they came out and in memory of Bowie this picture sleeve is as a near to perfect pop as it is possible to get IMHO

On this day in music history: May 21, 1983 - “Let’s Dance” by David Bowie hits #1 on the Billboard Hot 100 for 1 week, also topping the Club Play chart for 2 weeks on April 30, 1983, and peaking at #14 on the R&B singles chart on May 28, 1983. Written by David Bowie, it is the second US chart topper for the British rock icon. Newly signed to a worldwide record deal with EMI Records in 1982 worth over $10 million, David Bowie collaborates with musician Nile Rodgers of Chic on his first album with the label. Before the recording sessions begin, Bowie plays Rodgers a number of new songs he has written including one titled “Let’s Dance”. Originally written on a 12-string acoustic guitar, Bowie’s original arrangement bares almost no resemblance to what it becomes. Rodgers takes the folk-rock acoustic based song, and transforms it into a funky, uptempo dance rock song. Recorded at The Power Station in New York City in December of 1982, “Let’s Dance” along with the rest of the accompanying album is recorded in under three weeks. “Dance” features most of the core rhythm section of Chic including Tony Thompson (drums), Rob Sabino (keyboards), Sammy Figueroa (percussion) and Rodgers himself (guitar) as well as Carmine Rojas (bass), and a then little known blues guitarist named Stevie Ray Vaughan providing the stinging lead guitar on the track. The title track from David Bowie’s fifteenth studio album, it is released in March of 1983 and is an immediate smash. Entering the Hot 100 at #59 on March 26, 1983, it  climbs to the top of the chart eight weeks later. The single also tops the chart in the UK, becoming his third chart topper in his home country. “Dance” not only become Bowie’s biggest single and album, but also introduces him to a new audience, winning him a new generation of fans. “Let’s Dance” is certified Gold in the US by the RIAA. 

Wonderful stuff and let's face it we need to dance  . . . . . .

another from Jeff Harris' wonderful music blog  

DIAMOND DOG?

Terry O'Neill (b.1938)David Bowie, Diamond Dogs, 

London1974 silver gelatin fine art archival print 72 x 48" edition of 50

David Bowie Diamond Dogs Contact Sheet by Terry O'Neill, 1974

Signed by Terry O'Neill. Limited edition of 50.

© Iconic Images / Terry O'Neill

Terry O'Neill was asked to shoot photos for the promotion of Bowies new album Diamond Dogs. 

As Terry remembers Bowie walked into the studio with this giant, beautiful dog. 

He sat in a chair, all stretched out, with the dog standing next to him. 

But every time we took a photo, the dog would bark at the strobe light. 

The dog got so excited by the light, he started to leap at it. 

That image, with David just sitting there, completely unaffected by this large, imposing, soaring dog, 

has become one of the most iconic shots in rock-and-roll. 

I was behind the camera, Bowie was on the chair but everyone else ran.

behindthegrooves:

On this day in music history: January 23, 1976 - “Station To Station” (or “StationToStation”), the tenth studio album by David Bowie is released. Produced by David Bowie and Harry Maslin, it is recorded at Cherokee Studios in Los Angeles, CA from October - November 1975. Following the major critical and commercial success of the album “Young Americans”, David Bowie plays the lead role in the film “The Man Who Fell To Earth”, directed by Nicolas Roeg (“Performance”). After filming wraps, Bowie returns to the studio to begin work on a new album. Having explored soul music on “Young Americans”, Bowie continues his “Thin White Duke” phase, but also having become intrigued by German electronic bands such as Kraftwerk and Neu!, he also incorporates those musical stylings into the work in progress. The musical shift foreshadows the singers’ exodus from the US later in 1976 for Switzerland and Berlin, Germany. Bowie is also at the apex of his cocaine dependency at the time, and later is not able recall much of the work done during the ten days it takes to record the album. In spite of this, the sessions produce one of his most accessible and successful works, and marks another important transition in the chameleon like musicians’ career. It spins off two singles including “Golden Years” (#10 Pop) and “TVC 15” (#64 Pop). The album is remastered  and reissued on CD and as a 180 gram vinyl LP as part of the box set “David Bowie: Who Can I Be Now? (1974 - 1976)”. “Station To Station” peaks at number three on the Billboard Top 200, and is certified Gold in the US by the RIAA.

This . . . . . . about That

David Bowie cuts up . . . . . .
 . . . . . . . why we love him so much

we miss you Mr B

B ★ O ★ W ★ I ★ E 

sorry i lost the artist credit so if you know who did this wonderful painting please let me know for crediting

Big O posted this text of the BBC/Wiki on the anniversary of Bowie's passing:

In memory of David Bowie

January 8, 1947 - January 10, 2016

Singer David Bowie died on January 10, 2016 at the age of 69 following a battle with cancer. The following note was posted at davidbowie.com: “David Bowie died peacefully [January 10, 2016] surrounded by his family after a courageous 18-month battle with cancer. While many of you will share in this loss, we ask that you respect the family’s privacy during their time of grief.” The singer only released his latest album Blackstar on his birthday on January 8, 2016. There had been rumours about Bowie’s health for years. His last live performance was at a New York charity concert in 2006. Bowie’s breakthrough came with 1972’s The Rise and Fall of Ziggy Stardust and the Spiders From Mars. His hits include Let’s Dance, Space Oddity, Heroes, Under Pressure, Rebel, Rebel, Life on Mars and Suffragette City. Bowie was a figure in popular music for over four decades, and was known as an innovator, particularly for his work in the 1970s. His androgynous appearance was an iconic element of his image, particularly in the 1970s and 1980s. - BBC/wikipedia

+ + + + +

There are some lovely boots knocking about the internet this morning as is only fit and proper but by far my favourite and on the decks right now is the Swedish Radio Symphony Orchestra doing 'Bowie in Berlin 2016' from over at Big O (Where else?) 

link

Bowie in Berlin

Conducted by Hans Ek and Live at the Berwaldhallen, Stockholm, Sweden; from December 3, 2016. Very good Swedish radio broadcast stream


Give it a try as it is peerlessly done and I admit I wasn't too sure but upon listening it is truly extraordinary a truly distinctive tribute to the man and artist. 

Check this track listing from Big O

Disc 1

Track 101. Subterranaens/Some Are 7:22 (17.7MB)

Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 102. Always Crashing In The Same Car 3:28 (8.3MB)

Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Moto Boy (Sång), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 103. Weeping Wall 1:13 (2.9MB)

Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 104. Sound And Vision 2:19 (5.6MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent)

Track 105. Be My Wife 2:50 (6.8MB)

Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 106. Art Decade 1:36 (3.8MB)

Sveriges Radios Symfoniorkester, Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 107. Word On A Wing 5:20 (12.8MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 108. Warszawa 6:54 (16.6MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 109. Ballade Vom Ertrunkenen Madchen 1:59 (4.8MB)

Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Hans Ek (Dirigent) 

Track 110. Berlin 2:27 (5.9MB)

Moto Boy (Sång), Jonas Östholm (Piano) 

Track 111. Trans-Europe Express 4:21 (10.5MB)

Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 112. Heroes 7:16 (17.4MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 113. Heroes Symphony 4:56 (11.8MB)

Sveriges Radios Symfoniorkester, Hans Ek (Dirigent) 

52 mins

Disc 2

Track 201. Blackout 3:31 (8.5MB)

Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 202. Sense Of Doubt 0:55 (2.2MB)

Sveriges Radios Symfoniorkester, Jonas Östholm (Piano), Hans Ek (Dirigent) 

Track 203. Sons Of The Silent Age 3:54 (9.4MB)

Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 204. Fantastic Voyage 2:57 (7.1MB)

Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Jennie Abrahamson (Sång), Hans Ek (Dirigent) 

Track 205. African Nightflight 2:57 (7.1MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 206. Look Back In Anger 3:02 (7.3MB)

Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 207. Ashes To Ashes 4:17 (10.3MB)

Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent), Sveriges Radios Symfoniorkester, Zero8 (Kör), Magnus Carlson (Sång)

Track 208. The Passenger 4:57 (11.9MB)

Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 209. Under Stars 5:23 (12.9MB)

Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 210. Blackstar 10:08 (24.3MB)

Jennie Abrahamson (Sång), Magnus Carlson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 211. This Is Not America 2:37 (6.3MB)

Jennie Abrahamson (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång), Hans Ek (Dirigent) 

Track 212. Where Are We Now 5:04 (12.2MB)

Magnus Carlson (Sång), Jennie Abrahamson (Sång), Moto Boy (Sång), Sveriges Radios Symfoniorkester, Zero8 (Kör), Jonas Östholm (Piano), Oskar Nilsson (Elbas, Sång), Niklas Lind (Trummor, Sång),Hans Ek (Dirigent) 

50 mins

Also a Tin Tear Drop . . . . . . 

 B ★ O ★ W ★ I ★ E

A lovely crisp and clear Bowie concert from OTTOWA

link

BOWIE- Ottowa 1987

check the notes there too

UPDATE:

and Another set . . . . from Big O

Rehearsals for Station To Station World Tour - Vancouver

link

When God Was an Englishman 1974

Cat People - For Amy

R.I.P David Bowie - has it really been a year?

MERCURY PRIZE

You had one job . . . . . . . . . . 

B ★ O ★ W ★ I ★ E  too

s t a r g a z e - THE DAVID BOWIE PROM 2016

this just in from Big O (of course) and really worth checking out if you missed the concert on the BBC

Bowie Prom 2016

Live at the Royal Albert Hall, London, UK; July 29, 2016. Excellent radio broadcasts.
Cale illustrated everything that is usually so wrong with the mix of pop and orchestral, where all those fantastic instruments simply end up as gilding to a loud band, offering little more than a veneer of sound like a big synthesizer.
Source 1 (1 - 19): BBC Radio 3 > 323kbps 48k HLS aac stream > ffmpeg > aac > Audition > FLAC
Source 2 (20 - 21): BBC 6Music > 323kbps 48k listen again stream > RMC7 > FLV (aac) > Audition > FLAC

The David Bowie Prom [BBC Prom 19, 2CD]

A celebration and reinterpretation of the music of David Bowie with the Berlin-based, genre-defying musicians collective s t a r g a z e and its Artistic Director André de Ridder. They are joined by guest singers and collaborators - including John Cale, Marc Almond, Neil Hannon, Conor O’Brien, Laura Mvula, Paul Buchanan, Jherek Bischoff, Anna Calvi and Amanda Palmer - to re-imagine the Bowie catalogue with fresh settings of classic works. This is the complete concert patched together from two different BBC broadcasts.

+ + + + +

Hazel Sheffield, The Independent:

The BBC went hard on David Bowie’s death (January 10, 2016). BBC 6Music held a day of special broadcasts.  BBC2 changed its scheduling. Plans for the Bowie prom must have got underway not long afterwards. Stargaze, an orchestral collective known for their work with pop artists like Owen Pallett and Villagers, were asked to turn Bowie’s oeuvre into the stuff of proms.

They start standing in the round at the Royal Albert Hall, playing the brooding Warszawa from Low.

Warszawa was conceived by Brian Eno to invoke the desolation of Warsaw at the time of Bowie’s visit in 1973. While the ensemble play, Neil Hannon from the Divine Comedy enters the stage as Stargaze segue into Station to Station. Amanda Palmer from Dresden Dolls stands behind him on backing vocals. Palmer dispels the somber atmosphere after the song.

“The most important thing is that this is not a wake. This is an artful celebration of some of the most beautiful music in the world,” she tells the audience, who applaud from the many corners of the venue.

Stargaze director Andre de Ridder told the BBC he was a bit nervous before the concert, the first prom to be streamed live on BBC Four, Radio 3 and 6Music. “I hope we’re not overwhelmed!”

In the end they are somewhat by John Cale’s Space Oddity, which turns out dirge-like for the addition of the house gospel choir. The nimble arrangements cannot survive the number of people onstage. Amanda Palmer even brings our her baby for After All, a nightmarish fan favourite from The Man Who Sold The World, which despite best efforts becomes funereal.

radiotimes.com:

There was brilliance at work - but the experiment never quite lifted off… Let’s be clear, it was billed as a “reinterpretation of the music of David Bowie” and put together by a mismatch of musicians who loved/respected/wanted to honour the spirit and avant-garde creativity of Bowie. To that extent it might be deemed a success.

telegraph.co.uk:

For the first time in Proms history, a pop star’s work was treated as seriously as any classical composer. The results may not have been an unqualified success but this richly imaginative, bold, thoughtful, daring and emotional night amply demonstrated that Bowie fully deserves to be considered an all-time great from any perspective.

Despite obvious flaws and failed renditions, the Bowie Prom was the most thrilling orchestration of pop I have ever seen because it dared to really reimagine the music.

+ + + + +

Thanks to PsyKies for sharing the show at Dime.

PsyKies noted:

Recorded off air from the live BBC Radio Three broadcast 29th July 2016. Source was the BBC HLS 323kbps 48kHz internet stream. As Radio Three did not broadcast the final two tracks these have been patched in from the BBC 6Music radio broadcast.

Audition was used to edit out most of the announcers (one tiny segment remains), increase levels on main broadcast by 6dB, match levels on patch material, crossfade into patch, track and convert to FLAC/44.1kHz. FLAC tagging done using mp3tag and fingerprints generated using TLH.

Front cover picture posted at radiotimes.com.