Search - David Bowie :: Space Oddity (40th Anniversary Edition)

"...Ground Control to Major Tom...Take Your Protein Pills...

Mark Barry at Reckless Records, Lon | UK | 11/22/2009

(5 out of 5 stars)

"This November 2009 EMI Limited Edition 2CD set (Oct in the UK) is a 40th Anniversary celebration of Bowie's long forgotten and criminally underrated 2nd album - "David Bowie" [later known as "Space Oddity"]. There's a lot on here, so let's get to the details...



Disc 1 (46:12 minutes)

Tracks 1 to 9 are the album "David Bowie" issued 14 November 1969 on Phillips SBL 7902 in the UK (produced by TONY VISCONTI). Released in the same month in the USA but with slightly altered artwork (the photo on the cover is used as the 1st page of the booklet), the US version was re-titled as "Man Of Words/Man Of Music" and issued on Mercury SR-61246.



Disc 2 (63:47 minutes):

1. Space Oddity (early 'Demo' version featuring duet vocals with John "Hutch" Hutchinson, recorded January 1969)

2. An Occasional Dream (early 'Demo' version also featuring duet vocals with John "Hutch" Hutchinson, recorded March/April 1969)

3. Wild Eyed Boy From Freecloud (this is an alternate version put out as the non-album B-side to "Space Oddity" issued in July 1969 as a UK 7" single on Philips BF 1801. It contains the Paul Buckmaster spoken intro and less brass and strings - none of which are on the LP version)

4. Let Me Sleep Beside You

5. Unwashed And Somewhat Slightly Dazed

6. Janine

4 to 6 were recorded live for the Dave Lee Travis show on the BBC's Radio 1 on 20 Oct 1969 (broadcast 26 Oct). 5 and 6 have been issued before on the 2000 CD set "Bowie On The Beeb..." but 4 is previously unreleased

7. London, Bye, Ta-Ta (Stereo Version) (recorded in January 1970 in Trident Studios as a follow up single to "Space Oddity" but shelved, this version first appeared on the "Sound + Vision" 4CD Box set in 2003)

8. The Prettiest Star (Stereo Version) (released as a UK 7" single in March 1970 on Mercury MF 1135 but only in MONO - this STEREO version first appeared on the 1997 compilation "The Best Of...1969/1974")

9. Conversation Piece (Stereo Version) (the non-album B-side to "The Prettiest Star" 7" single which was only ever issued in MONO - this is a previously unreleased STEREO version)

10. Memory Of A Free Festival (Part 1)

11. Memory Of A Free Festival (Part 2)

10 and 11 are the A&B of the June 1970 UK 7" single on Philips 6052 026. This is not the LP track, but a re-recorded version then split across two sides of a single. These first appeared on the Ryko CD version of "Space Oddity" in 1990.

12. Wild Eyed Boy From Freecloud (Alternate Album Mix)

13. Memory Of A Free Festival (Alternate Album Mix) (previously unreleased version that is over 2 minutes longer)

14. London, Bye, Ta-Ta (Alternate Stereo Mix)

15. Ragazzo Solo, Ragazza Sola (Full Length Stereo Version) (the 1970 Italian version of "Space Oddity". It translates into "Lonely Boy, Lonely Girl". The single mix turned on the "Bowie Rare" LP in 1983, but this version is previously unreleased)



1, 2, 4, 9, 12 to 15 are previously unreleased



The British album (on which this release is based) originally came in a fetching gatefold sleeve (now a hugely collectable £400 vinyl rarity in mint condition) and it's this artwork that's used for both the back and front cover of the tri-gatefold digipak. Different Trident Studios Master Tape boxes are pictured under each see-through CD tray, while the 32-page booklet is a feast of memorabilia from fans and collectors - rare picture sleeves, trade adverts, period photos - all topped off with a fantastically detailed essay by noted expert KEVIN CANN.



If I was to have a gripe about the booklet and the packaging, it would be this - on the back of the UK success of the "Hunky Dory" album in September 1972 (reached number 3 in the UK charts), the "David Bowie" album was then reissued in November 1972 on RCA Victor LSP 4813 as "Space Oddity". It came in different artwork and was given an inner lyric bag and a foldout poster. I mention this because for such an extensive and superbly annotated booklet, none of this is printed or pictured - an odd omission?



But it's a minor point because the real sparks are to be found in the SOUND. Remastered from the first generation master tapes by PETER MEW at Abbey Road with help from TRIS PENNA and NIGEL REEVE - the audio is FABULOUS. I've sung the praises of Peter Mew's work before (Jethro Tull's "This Was" and Dr. Feelgood's "Down At The Jetty" jump to mind - see reviews) and having years and hundreds of credits to his name, he knows his way around a tape or two. I've never heard the track "Space Oddity" sound so clear and full - it's a superlative job. The clarity on the two newly found demos at the beginning of Disc 2 is incredible also - especially given their vintage and crude recordings.



The music itself is an acquired taste. Not quite the Sixties pop of his debut or the Seventies rock brilliance of "Ziggy" and "Hunky Dory" which was just around the corner, it's a man finding his artistic feet - ideas are everywhere - and it's even quite folky in places. It won't be everyone's cup of tea for sure, but if you've the inclination, it's a rediscovery well worth making...



To sum up - this is a superb reissue - and it's the dogs bollox where it matters the most - in the sound department.



Far above the world - sitting in his tin can - Major Tom is grinning...



Recommended."

The Beginning of an Iconic Career

Matthew A. | San Francisco, CA | 11/27/2009

(4 out of 5 stars)

"A very good special edition reissue, while I don't consider this album essential for Bowie fans, it is a historically important snapshot of David Bowie at the tail end of the 60s. The reality is, while Bowie kept at the singles market throughout the 60s, he was probably too out of sync with the sensibilities of the 60s to belong to that era. He began to find his voice with this album, but he would also have a ways to go before he truly arrived. First off, the title track is a truly great piece, not only a great song, but a great record as well. The team of Producer Gus Dudgeon, and arranger Paul Buckmaster delivered such an impeccable record, that Elton John and Taupin would soon snatch them up for John's series of classic albums. Rick Wakeman's eerie Mellotron blends almost perfectly with Buckmaster's arrangement. Producer Tony Visconti takes over for the rest of the proceedings, "Unwashed and Somewhat Slightly Dazed" evolves into a good up-tempo rocker, with some hot harmonica soloing and an horn ensemble. The fun little filler known as "Don't Sit Down" is tagged on the end of "Unwashed" as all one track, and this differs from the Ryko reissue from the early 90s.



"Letter To Hermione" is a plaintive ballad about the breakup of his girlfriend. "The Cygnet Committee" is one of the more interesting tracks, as it's theme would be explored again with "Savoir Machine" off of the next album TMWSTW, as well as some thematic aspects of Ziggy Stardust, A messianic figure exploiting his followers, while his followers exploit him in kind. The song also seems to also be a scathing lament of the fallen ideals of utopian hippies, i.e. the outcome of Altamont, the career opportunism of Woodstock, etc... The electric Harpsichord work of Rick Wakemen is outstanding on this track and tends to get overlooked. "Janine" is probably the most accessible track, and for my tastes, the least interesting, and the track I tend to feel seems like filler. While not essential, I like "An Occasional Dream", while it seems a little dated, the Flute and recorder ensemble works well, and harkens to Bowie's Anthony Newley influence. The Newley influence creeps through on "The Wild Eyed Boy From Freecloud", I initially assumed that Paul Buckmaster was involved in the arrangement, being that it was the B side to "Space Oddity", and Buckmaster could be heard on Bowie's Demo, but to my surprise Tony Visconti was responsible for this epic, over the top orchestral arrangement.



"God Knows I'm Good" is a narrative about a shoplifting incident that manages to comment on rationalist thinking. "Memory of a Free Festival" is an odd closer, with Bowie's plaintive vocal and pump organ, that again seems to be a sympathetic lament on the idealism of the late 60s. The closing "Sun Machine" segment seems to reference "Hey Jude", as there's a horn ensemble buried in the mix to reinforce that impression. While there's a certain degree of studio polish on the album, there's also a kind of looseness present we would never see again from Bowie.



Peter Mew's work on the digital remaster is outstanding, with some added presence, and clarity when needed. The second disc is generous with it's selections, while a number of these tracks appeared on the Ryko issues, or the Sound and Vision box set. These versions of "Space Oddity" and "Occasional Dream" are demos featuring his brief partnership with John Hutchinson, This version of "Freecloud" had already been heard on the 'Sound and Vision' collection. "Let Me Sleep Beside You, Unwashed", and "Janine" are recordings from the BBC Radio D.T.L show, and rather good. Two mixes of "London, Bye, Ta, Ta" are included, although the track had already appeared on the 'Sound and Vision' set. A Stereo mix of 1970's "The Prettiest Star" with Marc Bolan is included.



A Stereo mix of "Conversation Piece" is featured, whereas the Ryko addition featured a Mono mix, this track is interesting from the standpoint of showing a confessional self reflective side to Bowie's writing that normally isn't seen. The electric re-take of "Memory of a Free Festival" is included, featuring the first time Mick Ronson appears, as well as a layer of moog synths, this was the other bonus featured on the Ryko 1990s issue, this version of "Memory" hints at the hard rock glam direction Bowie would soon take. A longer version of "Memory", from the original album, with a longer fade out is also included. Also included is an alternative mix of "Freecloud" where the vocal is brought more forward, and the orchestration less emphasized. The Italian mix of "Space Oddity (Ragazzo Solo, Ragazza Sola)", features an interesting mix of the backing tracks for Gus Dudgeon's production and brings this collection full circle.



The packaging, while missing lyrics, includes a great set of liner notes from Kevin Cann, as well as a timeline of Bowie's career during this period. As well as unreleased photos, sketches, and art work. The packaging certainly offers value for your dollar, but seems geared towards completists, or the very curious. Hopefully this will lead the way towards generous reissues of "The Man Who Sold The World" and "Hunky Dory". Recommended."

Still in orbit

Matthew Watters | Vietnam | 01/10/2010

(4 out of 5 stars)

"This album sounds as confounding today as it must have back in 1969, a wildly incongruous mix of Dylanesque folk, Beatlesque psychedelia, Velvet Underground-style noise drones, arty orchestral pop of the "MacArthur Park" variety, and a highly dense lyrical approach. It's all terribly weird and ambitious and utterly at odds with everything else going on around it, and, in light of its creator's subsequent career, that's as it should be. The album surely had a stealthy influence on a number of minor but nevertheless important artists over the years, such as Helium's Mary Timony, who crafted a highly personal, mythic and medievalist lyrical symbology onto a rock landscape, or Bid from The Monochrome Set, whose Scarlett's Well project is the twee cousin of this, Bowie's first proper album. The Bowie record opens on an astounding high -- the epic "Space Oddity", which still sounds fresh today -- and closes on another one -- the hypnotic and transcendent Sun Machine chant. In between, producer Tony Visconti laid it on thick, with strummed guitars, horn sections, harmonicas and other noises off, all sounding very freshly recorded on this new remaster. Space Oddity remains a very strange trip but one very well worth taking."