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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. David Bowie The World of David Bowie The Man Who Sold the World Encyclopedia of Popular Music. Pitchfork Media. The Rolling Stone Album Guide. The cover front and back and the second insert of this version are based on those of the Brazilian issue which was in turn that of the European issue.
The design on the inside is based on that of the US CD issue. Some more remarks on the cover will be made in the next entry, which is about the version in the alternative cover. The sound quality of the album is quite good, although the volume is rather low - probably because of the length of the album.
So the naturally present background noise is audible on the quieter tracks. There are copies altogether: in yellow or lime vinyl, in white or rather light yellow , in gold brown, 70 in black, and 30 "promo" copies colour unknown to me.
The inserts and labels are identical to those of the other issue, so I don't show them again here. The cover opens to the left, which is quite unusual for a gatefold sleeve.
If you examine it more closely, you will see that there is printing on the inside of the part that holds the record, too. They used a very clever trick here: both versions actually have the same cover, and which variant you get only depends on the way the cover is folded and glued! After a very rare one on Simply Vinyl ? This second official vinyl version of the soundtrack was also available in yellow, limited to 2. However, since it's not one of the most interesting albums, the cheaper black version of this re-issue will do for me.
Excellent sound. There are also copies in white vinyl. I'm quite glad that this isn't actually Bowie's "legacy" - much of his best work is ignored. But I like the cover. I can't say how many copies of this limited issue with the prints were made. The CD issues of this album had already been released in November In any case this album was a nice addition to one's collection: you got a lot of great music for little money, especially because the sound quality is very good to excellent.
Disc 1 has the old Floor Show again. The recordings as such are identical to those on the Dollars in Drag and Absolutely Rare bootlegs, but this album shows how different identical recordings from different sources can sound.
To begin with the flaws: is incomplete it fades out where Dodo should start , Time has a short gap where the word goddamn has been edited out which had been cleverly masked on the old Dollars bootleg , and I Got You Babe is the edited version. However, with the exception of the edited and, possibly, Time due to the gap this is certainly the best-sounding version of this show in my collection - note, though, that the vinyl version of this disc is even better.
And, by the way, for purists I must point out that the music is based on compressed files. Disc 2, originally recorded for and broadcast on Japanese TV, had previously been circulating as a DVD on the internet and probably been available in some audio form, too , but it's nice to have it on CD.
Disc 3 is an incomplete version of the Riverport Amphitheater show that had previously been released on Live. Inside and the Back in Anger volume 1 and volume 2 bootlegs. There are no sound dropouts on this version, but there is some distortion on the last two tracks. Disc 4 is a hotchpotch of TV recordings in nice sound quality, but not particularly exciting.
After all, I can only repeat that it's a great collection for little money - and they seem to have put more thought into the cover design than some designers have for some official releases! Much of the stuff is from the Early On CD and on vinyl here for the first time. The tracks on side 2 are not really interesting: in addition to the inevitable "long hair interview" we get a Kenny Miller track, and two familiar Deram tracks called "alternate single versions" on the cover, but actually the standard single versions - there is no other original version of The London Boys , anyway.
Note that the cover lists seven tracks for each side, whereas the tracks are actually distributed as listed above. The cover is truly beautiful. It is a kind of envelope opening at the top.
The triangles on the front can be opened to reveal the picture printed on the inside. I can't show this here because in order to scan the opened front I would have to bend the triangles so far that the cover could get damaged. My copy came with two flyers and a plastic bag of the exhibition. Since these are not actually "part" of the record, but only "associated items", I show only the front the bag has the same design on both sides, anyway. However, the version here is longer and in stereo, similar to that on the old Little Toy Soldier bootleg, but mastered and mixed differently.
It's a pity that the sound quality is so poor - even by the standards of a picture disc. The last picture shows the etched B-side with the blank label.
I haven't shown the etching because it's identical to that of the other issue. The soundboard recording of this show had been available before, for example on the Strange Fascination bootleg, but here all songs are complete, and the sound quality is better.
A recording with comparable sound had been circulating on the internet, and might have been released on bootleg CD I'm not sure , but it was great to have the show as an official release in a beautiful packaging. The second last picture shows the etched B-side - as you might realize, it was extremely difficult to scan.
The pictures show the front of the box the back is plain white , the barcode sticker, the front of the cover with its sealed wrapping it can be taken out without breaking the seal , the front and back of the cover without the wrapping , the front of the envelope the back is plain brown , the five prints, the front of the insert, and the label. It was exclusively available as a pre-order through Bowie's official webside. The number of exact copies is unknown; the number pressed depended on the number of pre-orders.
I haven't tried to show the etched B-side, since it's difficult to scan and the design is the same as on the European issues. One 2LP. Collector's notes: Released for the Barcelona exhibition.
An edit of an old mix and a re-issue of a track from a various artists compilation. Al Alba would actually have been more interesting The magazine third picture is, of course, not an integral part of the release, but comes from the same exhibition. This time there's no distortion or crackle, but the B-side runs off-centre.
Collector's notes: A more or less truncated version see below for an explanation of this strange formulation of the The Collaborator CD set. All four parts are good pressings with excellent sound quality.
However, if you're only after the music, then go for the CD set They must have used a different source than on the CD, so this might really be the best version of the show in my collection. The other LPs are incomplete versions of the CDs.
Sometimes the choice of songs is odd, but by and large it's worth buying for vinyl collectors. All four records had been available separately in May and I had originally listed them in this way, but I replaced my copies by the box set. I don't know when exactly the box set turned up, but it can't have been long after the separate LPs, which is why I have listed it under June. Exactly what we've waited for I haven't shown the barcode stickers.
Again, I haven't shown the barcode stickers. Maybe superior to the one originally released. However, unlike that album, this one is incomplete: with the exception of Space Oddity it includes only the tracks featuring other artists on Under Pressure this is of course Gail Ann Dorsey. So we'll still have to wait for the definite vinyl version of this show.
On the other, I wonder why they used an edit of Magic Dance that is almost a minute shorter than the original version and which had previously been available as a digital download, as I've read.
There were two coloured pressings: this purple or "lavender" one and a green one, each limited to 1. However, the pressing of this relatively rare and expensive record is awful. There are lots of clicks! If there was no such show the tracks are most likely to be from the next day. But let's get to the music and begin with the flaws: the show is incomplete and the sound quality is at best mediocre.
Despite all this, this is a nice bootleg. For an audience recording from that era the sound is acceptable - worse things from the early s have been released on bootlegs. The recently released great Cracked Actor album featured a "transitional" show and had thus shown how the original Diamond Dogs concept morphed into the "Phillydogs" tour. By contrast, this album, like the above-mentioned bootleg, is almost dominated by the tracks from the "soul phase", and even the older songs have been given a much more "soulful" arrangement than on the official release.
The pressing of this release is very good and the cover and the inner sleeves are beautiful and absolutely appropriate to the time of the show. By and large, this is an essential addition to one's collection! Finally, after 13 years, there was a bootleg release of Bowie's last ever full show.
The bootleg is beautiful. It has small black labels and four label stickers you can use to identify the sides, which haven't even got matrix numbers.
Note that the catalogue number is only on the label stickers, there is no number on the cover. As enjoyable as the set is, there is one major drawback: the sound quality! When I bought the record I expected a soundboard recording, especially since parts of the show were professionally filmed and broadcast.
This recording, however, is a mediocre audience recording, even by the standards of that time. The sound is rather thin and there is a lot of talking by the audience "Ich mag die Musik nicht! So we'll still have to wait for a really good release of this historical show. The sound quality and the pressing are very good for a picture disc. Especially the sound of the B-side is much better than on previous bootleg releases.
This time the highlights were the extended version of Stage and the Tony Visconti re-mix of Lodger. Although it was a practically complete collection of everything Bowie had released during that era, the Re:Call album included still omitted the Revolutionary Song.
Some notes on the particular albums: Low : like the original UK issue this one has got the titles on the back as a sticker. Comes with two inserts: the lyric sheet and a fold-out fanclub card. In addition to the plastic-padded inner sleeve it has a reproduction of the original neutral inner sleeve with some record company babble on it not shown here.
There is again a reproduction of the original neutral inner sleeve not shown. It has been criticized that the colour of the cover especially of the back is much darker than that of the original release.
Note that there is a strange and much-discussed volume drop in the title track. However, it adds the German and French single versions of the track. Stage : a reproduction of the UK issue in yellow vinyl which I haven't got, but which was similar to the Dutch release in yellow. It comes in a gatefold sleeve with a sticker on the front, the inevitable reproductions of the neutral inner sleeves and another fanclub insert. Stage : one of the pleasant surprises in this box.
This is not simply a vinyl issue of the CD release, but has two additional tracks. For all I know it has never been clarified when and where exactly each individual track was recorded, but at least for the additions the locations are given in the book that accompanies this box. The records come in a nice tri-fold FOC with sticker on the front with three beautiful inner sleeves. Lodger : it had never been clear to me that there is any controversy concerning the question of what the front and the back of the Lodger cover is - there is , as I recently realized.
I only have a German original copy, and judging from the spine and the position of the inside of the gatefold sleeve of that issue I had always thought that the "face" side of cover was the front and the "title" side was the back. According to the design of the cover in this box, however, it is exactly the other way round. The record comes in a gatefold sleeve with a lyric insert and a "half-neutral" inner sleeve not shown. Lodger : of the re-mixes of old albums that had been released as part of these boxes, this one sounds most interesting to me.
The new mixes are not necessarily better than the original ones, but in some cases Visconti gave the tracks more "punch" and the vocals became clearer.
It's a gatefold sleeve with a lyric insert. Scary Monsters and Super Creeps : comes with a fold-out insert with blank back, not shown here and a completely neutral additional paper inner sleeve. Re:Call 3 : another collection of single tracks, mixes and edits from all over the world, plus the album version of Cat People and the complete Baal EP.
Comes in a single cover with two inner sleeves. Note that although the record came with the October issue of the German Rolling Stone magazine, it was already available in late September. The sound quality is almost excellent, but could be a bit better. Heaven's in Here is just an instrumental intro. A lot of scorn has been poured on this cheap exploitation release and similar ones with roughly the same material , and, of course, it is faulty: some shows are incomplete, the intro of Space Oddity on disc 1 is missing, and the cover shots are ridiculously inappropriate.
As in the case of the above-mentioned CD set you get a lot of great music for very little money! The sound quality is excellent throughout, since all shows are taken from radio or TV broadcasts. Especially the Santiago show, which seems to be complete, hadn't been easily available before.
By and large, it's a pleasant release. Note that all discs have the same basic design, only the colours are different. Since these are visible in the pictures of the insides of the two covers, I have only shown one of the discs in detail. It's not taken from a single show, but culled from different performances. Although this might be a purist's nightmare, the result is astonishingly consistent, because the performances are blended quite nicely. The sound quality is excellent, but the covers are as inappropriate as those of the CD set.
In fact, this LP continues the story of strange discrepancies between vinyl and CD releases that seem to be typical of Coda Publishing see the remarks on the Floor Show in the entry of the The Collaborator vinyl box. The version of Modern Love included here is the Rio de Janeiro recording that had previously been released on bootlegs like Rock in Rio but is not included in the CD set.
It's an almost complete soundboard recording of the show - only Hang On to Yourself and Rebel Rebel are missing, and Stay is truncated. For all I know, this was the first practically complete release of a soundboard recording of a show leaving aside the Stage album, of course, which doesn't count because it had been compiled from several shows.
Expectedly, the sound quality is excellent It sounds quite dull, but that can be easily corrected by playing around with the equalizer settings. I only wonder why they didn't do that before releasing the album The pressing of the album is quite good, with the occasional click.View credits, reviews, tracks and shop for the Vinyl release of Zion Tapes on Discogs. Label: Not On Label (David Bowie) - DB-ZT • Format: Vinyl LP, Album, Limited Edition, Unofficial Release • Country: UK & Europe • Genre: Rock • Style: Glam, Classic Rock.