Feb 13, 2015 - Stage (European version of David Live in Philadelphia). Why does the 'David Bowie' on the cover of 'Aladdin Sane' appear on the left hand side when on the LP cover it is o the right. Odds are Changesonebowie would be the one Bowie album that you'd find in a record collection in the '70s and early '80s, and it was designed to be that way.
David Bowie – Discography (1967 – 2016)
EAC Rip | 182xCD | FLAC/APE Tracks & Image + Cue + Log | Full Scans Included
Total Size: 76 GB | 3% RAR Recovery
STUDIO ALBUMS | LIVE ALBUMS | COMPILATIONS | BOX SETS
Label: Various | Genre: Glam Rock
EAC Rip | 182xCD | FLAC/APE Tracks & Image + Cue + Log | Full Scans Included
Total Size: 76 GB | 3% RAR Recovery
STUDIO ALBUMS | LIVE ALBUMS | COMPILATIONS | BOX SETS
Label: Various | Genre: Glam Rock
The cliché about David Bowie says he’s a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there’s no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the ’70s. After spending several years in the late ’60s as a mod and as an all-around music-hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, yet he wasn’t content to continue to churn out glitter rock. By the mid-’70s, he developed an effete, sophisticated version of Philly soul that he dubbed “plastic soul,” which eventually morphed into the eerie avant-pop of 1976’s Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the ’80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let’s Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early ’90s. Even when he was out of fashion in the ’80s and ’90s, it was clear that Bowie was one of the most influential musicians in rock, for better and for worse. Each one of his phases in the ’70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers ever had such lasting impact. ― Allmusic
1. STUDIO:
1967. David Bowie (1989, Deram, P25L 25027, Japan)
1967. David Bowie (2010, Universal, UICY 94402.3, Japan, SHM-CD, 2CD)
1969. Space Oddity (1984, RCA, PD84813, W.Germany)
1969. Space Oddity (1990, EMI, CDP 79 1835 2, UK)
1969. Space Oddity (1990, Rykodisc, RCD 10131, Canada)
1969. Space Oddity (2007, Toshiba-EMI, TOCP-70141, Japan)
1969. Space Oddity (2009, EMI, TOCP-95041, Japan, SHM-CD)
1967. David Bowie (2010, Universal, UICY 94402.3, Japan, SHM-CD, 2CD)
1969. Space Oddity (1984, RCA, PD84813, W.Germany)
1969. Space Oddity (1990, EMI, CDP 79 1835 2, UK)
1969. Space Oddity (1990, Rykodisc, RCD 10131, Canada)
1969. Space Oddity (2007, Toshiba-EMI, TOCP-70141, Japan)
1969. Space Oddity (2009, EMI, TOCP-95041, Japan, SHM-CD)
1970. The Man Who Sold The World (1990, EMI, CDP 79 1837 2, UK)
1970. The Man Who Sold The World (2009, EMI, TOCP-95042, Japan, SHM-CD)
1970. The Man Who Sold The World (2009, EMI, TOCP-95042, Japan, SHM-CD)
1971. Hunky Dory (1984, RCA, PD84623, W.Germany)
1971. Hunky Dory (1990, Rykodisc-Au20, RCD 10133, USA)
1971. Hunky Dory (2007, Toshiba-EMI, TOCP-70143, Japan)
1971. Hunky Dory (2009, EMI, TOCP-95043, Japan, SHM-CD)
1971. Hunky Dory (1990, Rykodisc-Au20, RCD 10133, USA)
1971. Hunky Dory (2007, Toshiba-EMI, TOCP-70143, Japan)
1971. Hunky Dory (2009, EMI, TOCP-95043, Japan, SHM-CD)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1984, RCA Victor, PCD1-4702, Japan for USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1984, RCA, PD84702, W.Germany)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, EMI, CDP 79 4400 2, Holland)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, Rykodisc Au20, RCD 80134, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, Rykodisc, RCD 10134, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1999, EMI, 521 900 0, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (2007, Toshiba-EMI, TOCP-70144, Japan)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (2009, EMI, TOCP-95044, Japan, SHM-CD)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1984, RCA, PD84702, W.Germany)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, EMI, CDP 79 4400 2, Holland)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, Rykodisc Au20, RCD 80134, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1990, Rykodisc, RCD 10134, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1999, EMI, 521 900 0, USA)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (2007, Toshiba-EMI, TOCP-70144, Japan)
1972. The Rise and Fall of Ziggy Stardust and the Spiders from Mars (2009, EMI, TOCP-95044, Japan, SHM-CD)
1973. Aladdin Sane (1984, RCA Victor, PCD1-4852, USA)
1973. Aladdin Sane (1990, EMI, CDP 79 4768 2, UK)
1973. Aladdin Sane (1990, Rykodisc, RCD 10135, USA)
1973. Aladdin Sane (2009, EMI, TOCP-95045, Japan, SHM-CD)
1973. Aladdin Sane (2013, EMI, TOCP-71510, Japan, 40th)
1973. Aladdin Sane (1990, EMI, CDP 79 4768 2, UK)
1973. Aladdin Sane (1990, Rykodisc, RCD 10135, USA)
1973. Aladdin Sane (2009, EMI, TOCP-95045, Japan, SHM-CD)
1973. Aladdin Sane (2013, EMI, TOCP-71510, Japan, 40th)
1973. Pinups (1984, RCA, PD84653, Japan for W.Germany)
1973. Pinups (1999, EMI, 521 903 0, UK)
1973. Pinups (2009, EMI, TOCP-95046, Japan, SHM-CD)
1973. Pinups (1999, EMI, 521 903 0, UK)
1973. Pinups (2009, EMI, TOCP-95046, Japan, SHM-CD)
1974. Diamond Dogs (1984, RCA, PD83889, W.Germany)
1974. Diamond Dogs (1999, EMI, 521 904 0, UK)
1974. Diamond Dogs (2009, EMI, TOCP-95047, Japan, SHM-CD)
1974. Diamond Dogs (1999, EMI, 521 904 0, UK)
1974. Diamond Dogs (2009, EMI, TOCP-95047, Japan, SHM-CD)
1975. Young Americans (1984, RCA Victor, PCD1-0998, Japan for USA)
1975. Young Americans (1991, Rykodisc-Au20, RCD 80140, USA)
1975. Young Americans (1991, Toshiba-EMI, TOCP-6211, Japan)
1975. Young Americans (1999, EMI, 521 905 0, Germany)
1975. Young Americans (2009, EMI, TOCP-95048, Japan, SHM-CD)
1975. Young Americans (1991, Rykodisc-Au20, RCD 80140, USA)
1975. Young Americans (1991, Toshiba-EMI, TOCP-6211, Japan)
1975. Young Americans (1999, EMI, 521 905 0, Germany)
1975. Young Americans (2009, EMI, TOCP-95048, Japan, SHM-CD)
1976. Station To Station (1984, RCA, PD81327, W.Germany)
1976. Station To Station (1991, Rykodisc, RCD 10141, USA)
1976. Station To Station (1991, Rykodisc-Au20, RCD 80141, USA)
1976. Station To Station (1999, EMI, 521 906 0, UK)
1976. Station To Station (2009, EMI, TOCP-95049, Japan, SHM-CD)
1976. Station To Station (1991, Rykodisc, RCD 10141, USA)
1976. Station To Station (1991, Rykodisc-Au20, RCD 80141, USA)
1976. Station To Station (1999, EMI, 521 906 0, UK)
1976. Station To Station (2009, EMI, TOCP-95049, Japan, SHM-CD)
1977. Heroes (1984, RCA Victor, PCD1-2522, USA)
1977. Heroes (1984, RCA, PD83857, W.Germany)
1977. Heroes (1991, EMI, CDP 79 7720 2, Holland)
1977. Heroes (2007, Toshiba-EMI, TOCP-70151, Japan)
1977. Heroes (2009, EMI, TOCP-95051, Japan, SHM-CD)
1977. Heroes (1984, RCA, PD83857, W.Germany)
1977. Heroes (1991, EMI, CDP 79 7720 2, Holland)
1977. Heroes (2007, Toshiba-EMI, TOCP-70151, Japan)
1977. Heroes (2009, EMI, TOCP-95051, Japan, SHM-CD)
1977. Low (1991, EMI, CDP 79 7719 2, Holland)
1977. Low (1991, Rykodisc-Au20, RCD 80142, USA)
1977. Low (2007, Toshiba-EMI, TOCP-70150, Japan)
1977. Low (2009, EMI, TOCP-95050, Japan, SHM-CD)
1977. Low (1991, Rykodisc-Au20, RCD 80142, USA)
1977. Low (2007, Toshiba-EMI, TOCP-70150, Japan)
1977. Low (2009, EMI, TOCP-95050, Japan, SHM-CD)
1979. Lodger (1984, RCA, PD84234, W. Germany)
1979. Lodger (1991, EMI, CDP 79 7724 2, Holland)
1979. Lodger (1991, Rykodisc, RCD 10146, USA)
1979. Lodger (1999, Toshiba-EMI, TOCP-65316, Japan)
1979. Lodger (2009, EMI, TOCP-95052, Japan, SHM-CD)
1979. Lodger (1991, EMI, CDP 79 7724 2, Holland)
1979. Lodger (1991, Rykodisc, RCD 10146, USA)
1979. Lodger (1999, Toshiba-EMI, TOCP-65316, Japan)
1979. Lodger (2009, EMI, TOCP-95052, Japan, SHM-CD)
1980. Scary Monsters (1984, RCA, PD83647, W.Germany)
1980. Scary Monsters (1992, EMI, CDP 79 9331 2, Holland)
1980. Scary Monsters (1992, Rykodisc, RCD 20147, USA)
1980. Scary Monsters (1999, EMI, 521 895 0, Holland)
1980. Scary Monsters (2009, EMI, TOCP-95053, Japan, SHM-CD)
1980. Scary Monsters (1992, EMI, CDP 79 9331 2, Holland)
1980. Scary Monsters (1992, Rykodisc, RCD 20147, USA)
1980. Scary Monsters (1999, EMI, 521 895 0, Holland)
1980. Scary Monsters (2009, EMI, TOCP-95053, Japan, SHM-CD)
1983. Let’s Dance (1983, EMI America, CDP 7 46002 2, Japan for USA)
1983. Let’s Dance (1999, EMI, 521 896 0, Italy)
1983. Let’s Dance (2009, EMI, TOCP-95054, Japan, SHM-CD)
1983. Let’s Dance (1999, EMI, 521 896 0, Italy)
1983. Let’s Dance (2009, EMI, TOCP-95054, Japan, SHM-CD)
1984. Tonight (1984, EMI America, CDP 7 46047 2, Japan for UK, EU & USA)
1984. Tonight (1984, EMI America, CDP 7 46047 2, USA)
1984. Tonight (1999, EMI, 521 897 0, Italy)
1984. Tonight (2009, EMI, TOCP-95055, Japan, SHM-CD)
1984. Tonight (1984, EMI America, CDP 7 46047 2, USA)
1984. Tonight (1999, EMI, 521 897 0, Italy)
1984. Tonight (2009, EMI, TOCP-95055, Japan, SHM-CD)
1987. Never Let Me Down (1987, EMI America, CDP 7 46677 2, USA)
1987. Never Let Me Down (1995, Virgin, 840 986 2, Holland)
1987. Never Let Me Down (2009, EMI, TOCP-95056, Japan, SHM-CD)
1987. Never Let Me Down (1995, Virgin, 840 986 2, Holland)
1987. Never Let Me Down (2009, EMI, TOCP-95056, Japan, SHM-CD)
1989. Tin Machine (1999, EMI, 521 910 0, Italy)
1989. Tin Machine (2009, EMI, TOCP-95057, Japan, SHM-CD)
1989. Tin Machine (2009, EMI, TOCP-95057, Japan, SHM-CD)
1991. Tin Machine II (1991, London, 828 272-2, France)
1993. Black Tie White Noise (2003, EMI, 90967-0-4, USA, 2CD, 10th)
1993. The Buddha Of Suburbia (2007, EMI, 500 463 2, USA)
1995. 1.OUTSIDE (1995, Virgin, 8 40711 2, USA)
1995. 1.OUTSIDE (2013, Sony Music, SICP-30151, Japan, BSCD2)
1996. 1.OUTSIDE [version 2] (1996, BMG, 74321369002, Germany)
1995. 1.OUTSIDE (2013, Sony Music, SICP-30151, Japan, BSCD2)
1996. 1.OUTSIDE [version 2] (1996, BMG, 74321369002, Germany)
1997. Earthling (1997, BMG, 7432143077 2, Germany)
1997. Earthling (2013, Sony Music, SICP-30152, Japan, BSCD2)
1997. Earthling (2013, Sony Music, SICP-30152, Japan, BSCD2)
1999. Hours (1999, Virgin, 8 48157 0, USA)
1999. Hours (2004, ISO, CK 92099, USA)
1999. Hours (2013, Sony Music, SICP-30153, Japan, BSCD2)
1999. Hours (2004, ISO, CK 92099, USA)
1999. Hours (2013, Sony Music, SICP-30153, Japan, BSCD2)
2002. Heathen (2002, ISO, 508222 9, Austria, 2CD, Limited Ed)
2002. Heathen (2002, ISO, CK 86656, USA, 2CD, Limited Ed)
2002. Heathen (2013, Sony Music, SICP-30154, Japan, BSCD2)
2002. Heathen (2002, ISO, CK 86656, USA, 2CD, Limited Ed)
2002. Heathen (2013, Sony Music, SICP-30154, Japan, BSCD2)
2003. Reality (2003, ISO-Columbia, CK 90660, USA, 2CD, Limited Ed)
2003. Reality (2003, ISO-Columbia, COL 512555 3, Austria, Limited Tour Ed)
2003. Reality (2013, Sony Music, SICP-30155, Japan, BSCD2)
2003. Reality (2003, ISO-Columbia, COL 512555 3, Austria, Limited Tour Ed)
2003. Reality (2013, Sony Music, SICP-30155, Japan, BSCD2)
2013. The Next Day (2013, Sony Music, SICP 30127, Japan, BSCD2)
2016. Blackstar (2016, ISO, 88875173862, EU)
2016. Blackstar (2016, Sony, SICP-30918, Japan, BSCD2)
2016. Blackstar (2016, Sony, SICP-30918, Japan, BSCD2)
2. LIVE:
1973. Live Santa Monica ’72 (2008, EMI, BOWLIVE 201072, EU)
1973. Santa Monica ’72 (1994, Golden Years, GY 002, UK)
1973. Santa Monica ’72 (1994, Golden Years, GY 002, UK)
1973. Ziggy Stardust And The Spiders From Mars (2003, EMI, 7243 5 82394 2 3, EU, 2CD, 30th)
1974. David Live (1990, Rykodisc, RCD 10138~39, USA, 2CD)
1978. Stage (1991, Rykodisc, RCD 10144~45, USA, 2CD)
1978. Stage (1992, EMI, TOCP-6217~18, Japan, 2CD)
1978. Stage (1992, EMI, TOCP-6217~18, Japan, 2CD)
1990. Live In Los Angeles 1974. Part One (1990, SGRS Records, SGRS 011, Italy)
1990. Live In Los Angeles 1974. Part Two (1990, SGRS Records, SGRS 012, Italy)
2007. Glass Spider (2007, EMI, 0094639100224, EU, 2CD)
3. COMPILATION:
1976. ChangesOneBowie (1984, RCA Victor, PCD1-1732, Japan for USA)
1981. ChangesTwoBowie (1984, RCA, PD84202, Japan for W.Germany)
1983. Golden Years (1983, RCA, PD84792, Japan for W.Germany)
1984. Fame And Fashion (1984, RCA Victor, PCD1-4919, Japan for USA)
1990. Changesbowie (1990, EMI, CDP 79 4180 2, UK)
1990. Changesbowie (1990, Rykodisc, RCD 20171, USA)
1990. Changesbowie (1990, Rykodisc, RCD 20171, USA)
1993. The Singles Collection (1993, EMI, 7243 8 28099 2 0, Holland, 2CD)
1997. The Deram Anthology 1966-1968 (1997, Deram, 844 784-2, UK)
2000. At the Beeb. The Best of the BBC Radio Sessions 68-72 (2000, EMI, 7243 528629 2 4, EU, 2CD)
2000. Bowie At The Beeb (2000, EMI, BEEBPRO 6872, UK, Sampler)
2002. Best Of Bowie(2004, EMI, 7243 5 77949 2 3, EU, 3CD, Limited Ed)
2005. The Platinum Collection(2005, EMI, 0946 3 44076 2 5, EU, 3CD)
2014. Nothing Has Changed (2014, Parlophone, 825646205745, EU, 2CD)
2014. Nothing Has Changed(2014, Parlophone, 825646205769, EU, 3CD)
2016. Bowie Legacy (2016, Parlophone, 190295919870, EU, 2CD)
![Changes one bowie full Changes one bowie full](/uploads/1/2/5/2/125276087/130095411.jpg)
4. BOX SET:
1989. Sound + Vision(1989, Rykodisc, RCDV 1018, USA, 4CD)
1989. Sound + Vision(2014, Parlophone, DBSAVX1. 0825646237784, EU, 4CD)
2007. Outside / Earthling / Hours / Heathen / Reality(2007, Columbia, 88697169032, EU, 10CD)
2012. Original Album Classics(2012, Columbia, 88691906172, EU, 3CD)
2015. Five Years 1969-1973(2015, Parlophone, 0825646284085, DBX-1, EU & USA, 12CD)
2016. Who Can I Be Now? [1974-1976](2016, Parlophone, 0190295989842.DBX2, EU, 12CD)
DOWNLOAD FROM Nitroflare LMA_DaBo.D_Discography Uploadgig Link List LMA_DaBo.D_Discography Password: www.LosslessMA.net If you encounter broken links or other problem about this publication, please let me know and write your comment below. I will reply and fix as soon as possible. |
In the now-sadly-complete annals of David Bowie weirdness, there's nothing so weird as a Bowie album that, weirdly, isn't very weird at all.
Such is the case with the self-titled David Bowie (1967). Released two years before the singer made it big with Space Oddity, it hit record stores at the height of the hippie era, on exactly the same day as Sergeant Pepper's Lonely Heart's Club Band.
See also: Remembering David Bowie, the man who lived in the future
But contrary to what you might expect from Bowie, it's full of cheeky novelty songs — more Being for the Benefit of Mister Kite than Day in the Life. From his Ziggy Stardust era on forward, Bowie flatly refused to acknowledge this bastard stepchild of an album. It was never remastered, never included in box sets, and never extracted for a greatest hits album.
In other words, the man with more guises than anyone in musical history flatly refused to recognize this, his original guise — a purveyor of vaudevillian comedy songs.
Why is that? Well, one answer is sheer embarrassment. You can get a good look at the 'all-round entertainer' Bowie was trying to be at this stage in his career in the video below, Love You Till Tuesday. Be sure to stick around for the joke: 'well, I could maybe stretch it to Wednesday.'
But there's a second answer, and it's also the reason why you should give this forgotten album a try. It throws a new light on the rest of Bowie's career — because he changed less than you might think. Listen to the shunned album and you realize that underneath the many disguises, Bowie was actually far more of a comedian all along than he was a rock-and-roller.
Though embarrassed by the album, Bowie was quite up front about naming novelty tunesmiths like Tiny Tim and George Formby as being among his biggest influences. Open up any Bowie interview and the jokes and snarky comments come pouring out. Writes Bowie biographer David Buckley in Strange Fascination (1999):
Bowie’s influences came from the music hall, light entertainment and the theatre as well as from Anglo-American popular music. Bowie was not alone in his appreciation of music hall: Tommy Steele, Marty Wilde and Joe Brown all covered music hall and The Kinks and The Beatles also pay homage to the genre. Like these earlier singers, and particularly like Lennon who sang in a rasping Scouse accent, Bowie also made sure he sounded like where he came from ... Bowie might have a serious side, but a lot of his work, whether intentionally or not, is incredibly good fun.
In particular, Bowie was trying to mimic a very down-to-earth, mainstream British artist called Anthony Newley — whom you might know best as the guy who wrote the theme from Goldfinger and the Oompa-Loompa song from Charlie and the Chocolate Factory.
You can hear the echoes of the music hall era on the first track, 'Uncle Arthur' — a snarky little ditty about a man who can't stand being married and moves back in with his mother, age 32.
Then there's 'Rubber Band,' kind of a poor-man's 'Sergeant Pepper.' Released as an ill-advised single, it recalls the Edwardian era with this line: 'In 1910, I was so handsome and so strong / My mustache was stiffly waxed and one foot long.'
Also, note just how little Bowie's voice has changed over the years — still the same beautiful timbre, slightly cracked, an old voice in a young throat, just waiting to find the right things to sing about.
There are some clues here about his future interests. The song 'She's Got Medals' is about a cross-dressing, sexually ambivalent woman who joins the army.
And then there's 'We are Hungry Men,' a tale of a terrifying dystopian future that shows Bowie was fascinated by science fiction even at this young age. It anticipates both 'Five Years' from Ziggy Stardust and the 1970s movie Soylent Green.
In it, Bowie imagines a kind of fascist Messiah in an overpopulated future. To our ears, it almost sounds like a parody of a paranoid Tea Party supporter's prediction:
Achtung, achtung! These are your orders: Anyone found guilty of consuming more than their allotted amount of air Will be slaughtered and cremated. Only one cubic foot of air is allowed. I've prepared a document legalizing mass abortion. We will turn a blind eye to infanticide.
The album ends on a chilling note with 'Please Mr. Gravedigger,' which might be best described as gothic horror-comedy. Amid church bells, dripping rain and rumbling thunder, a sniffling and sneezing Bowie outlines his plan to murder the one witness to his crimes — a gravedigger who has been sneaking souvenirs from corpses.
![Youtube Youtube](http://4.bp.blogspot.com/_mz4B7czehWw/S8t1uCNaRdI/AAAAAAAAABk/eRaq7Fmj_zc/s1600/hunky-dory.jpg)
In conclusion, it's perhaps not surprising that it took Bowie another two years to find his feet with 'Space Oddity.' But we can also hear that track in a new light, too. As beautiful a track as it is, the story of an astronaut who ignores Ground Control to float off around his tin can is very much in the novelty song tradition.
In short, it's not a million miles away from 'Please Mr. Kennedy' from 2013's Inside Llewyn Davis. We can only hope that Bowie got to see that movie, and that he smiled a Bowie-esque smile of recognition at his humble comedic origins.
BONUS: Remembering the music of David Bowie across 6 decades