Utente:Michele859/Sandbox12: differenze tra le versioni
Contenuto cancellato Contenuto aggiunto
Riga 97:
===Exploring===
Billboard, 3rd March 1973: The game is known as bandwagon jumping. With Bowie’s name and fame fast spreading it was only natural that his first U.S. LP on Deram should be resurrected and surprise … nine never heard before cuts are successfully incorporated making this a must for collectors. Only fragmentary glimpses of what was to come can be gleaned upon first listening. Closer inspection heightens the clarity of his predestined present. He was known as Davy Jones then and his voice bore a close kinship to Anthony Newley’s but the songs, although bordering on the melodramatic, are all bloody marvelous! Best cuts: “The Laughing Gnome,” “London Boy,” “She’s Got My Medals,” “We Are Hungry Men.” Dealers: Just be sure to keep this album well stocked–the magic of the Bowie name will do the rest.
===AMG===
This double album is becoming hard to find, which is unfortunate, as it's easily the most comprehensive collection of Bowie's 1966-1967 work for Deram. The 21 tracks include the entirety of his 1967 debut album, plus seven stray songs from singles and sessions that were unreleased at the time. Possibly because it wasn't heard by many listeners until it was reissued in the early '70s during Bowie's ascent to stardom, this material has been unfairly maligned. Critics and fans of Ziggy Stardust were shocked to discover an all-around entertainer seemingly bent upon becoming the new Anthony Newley. Indeed, much of his work from this era was overbearingly cloying and saccharine, both in the West End matinee aspirations of the lyrics and the unabashedly theatrical orchestration, which bore hardly any resemblance to good old rock & roll whatsoever. One of these, "Laughing Gnome" (featuring Chipmunk-like backup vocals), would cause Bowie considerable embarrassment when it was reissued -- and became a hit -- in Britain in 1973. The less-idiotically cheerful efforts, though, show definite signs of an idiosyncratic talent: the odd character sketches, the fleeting references to transvestites and mysticism, even the occasional London swinging pop number ("Let Me Sleep Beside You"). The best track, "London Boys" (a 1966 single), is a neglected classic look at the downer side of the mod experience, and is the best of his many obscure pre-Space Oddity recordings. Peak at nr. 144 in the Billoard 200.
==Note==
| |||