Mercury was the sixth label that David had released UK singles on. Sadly that was not to be and taking in to account the gentleness of both sides of the 45, it was an unusual follow-up considering David was plugging his new, rather loud, electric band, Hype, in both the press and on stage around the time of the single's release. Bowie obviously recognised how strong a song The Prettiest Star was as he rescued it for the Aladdin Sane album, with Mick Ronson affectionately recreating Marc Bolan's original solo.
The B-side, Conversation Piece, was also re-recorded thirty years later for the Toy project and finally issued in as a Heathen bonus track. Joining the ten album tracks were The London Boys, plus three unreleased tracks recorded with Tony Visconti in Here's the tracklisting Originally, the single versions of both Love You Till Tuesday and When I Live My Dream were meant to replace the album versions for this compilation, but this didn't transpire.
Illustrated in the montage here is the original copy of the album, complete with the nineteen shillings and eleven pence recommended retail price sticker this was pre-decimal , as advertised in the trade press advert.
This format had the same content as the vinyl version, albeit with the tracks in a different running order. Listen to the original recordings of The Prettiest Star as it was originally released and the stereo mix, below. The Prettiest Star — Stereo Version. It remains one of the most collectable Bowie pressings of all time, coveted by a very select few.
Hi Mauro, Roel and Reto. Bowie BowieHype. A bit like Gilbert and George, actually, God, whatever happened to those two? I used to really like them Folk music of the factories. David returned the compliment later the same year on the "Heroes" album, when he paid Florian the ultimate tribute by using his name for the title of V-2 Schneider.
We reprinted the full unedited version of it on DavidBowie. UNCUT: Many reasons have been suggested for moving to Berlin: the local art and music scene, to escape superstardom, for spiritual and physical detox - plus the creative stimulation of being in an isolated, edgy, divided city. Are these theories accurate? Can you remember why the city appealed? DB: Life in LA had left me with an overwhelming sense of foreboding. I had approached the brink of drug induced calamity one too many times and it was essential to take some kind of positive action.
For many years Berlin had appealed to me as a sort of sanctuary like situation. It was one of the few cities where I could move around in virtual anonymity. I was going broke; it was cheap to live. For some reason, Berliners just didn't care.
Well, not about an English rock singer anyway. Since my teenage years I had obsessed on the angst ridden, emotional work of the expressionists, both artists and film makers, and Berlin had been their spiritual home.
It was an art form that mirrored life not by event but by mood. This was where I felt my work was going. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further. Most of it lazy analyses I believe. Theirs was a controlled, robotic, extremely measured series of compositions, almost a parody of minimalism. One had the feeling that Florian and Ralf were completely in charge of their environment, and that their compositions were well prepared and honed before entering the studio.
My work tended to expressionist mood pieces, the protagonist myself abandoning himself to the 'zeitgeist' a popular word at the time , with little or no control over his life. The music was spontaneous for the most part and created in the studio. In substance too, we were poles apart. Ours was the mangled treatment of a powerfully emotive drummer, Dennis Davis.
The tempo not only 'moved' but also was expressed in more than 'human' fashion. Kraftwerk supported that unyielding machine-like beat with all synthetic sound generating sources. One other lazy observation I would like to point up, btw, is the assumption that 'Station To Station' was homage to Kraftwerk's 'Trans-Europe Express'.
Btw, the title drives from the Stations of the Cross and not the railway system. What I WAS passionate about in relation to Kraftwerk was their singular determination to stand apart from stereotypical American chord sequences and their wholehearted embrace of a European sensibility displayed through their music.
This was their very important influence on me. Interesting sidebar. I phoned Rother from France in the first few days of recording but in the most polite and diplomatic fashion he said 'No'. DB: No, not at any time. I guess the view is also skewed by whether you were seen as an albums or a singles artist. As an ELO fan however life affirming Mr. How many dyed in the wool ELO fans would name Mr. Blue Sky as their favourite ever track, in the way that someone who saw the opening to Guardians of the Galaxy II might think it is the best thing ever because of clever use in a film opening sequence.
How many Bowie fans would claim Life on Mars is their go to track, particularly after it got such exposure from the Sam Tyler based drama of Also a mention to all the underrated artists that either nobody has heard of or some artists only found true success in another country and ignored elsewhere…UK band The Fixx massive in the U.
Tom petty great example, how many people are listening to long after dark,its all free falling. Dead right, Chris. The Bee Gees also suffer with compilations. Like Motorhead never did anything else…. And I agree with the comments about favorite tracks. The ones that were popular were played to death on the radio and I resorted to the hidden gems on the albums to maintain my love for them Suspended in Gaffa is utterly, and totally brilliant.
I liked and have Scary Monsters originally exposed through a friend in high school and picked up the Singles Collection, and though that has all the songs discussed by Paul, its not something I play much, if at all. All the Bowie boxed sets that have been released have piqued my interest but always fall below my threshold of likelihood of ever listening to them in the future. I always thought the cover was terrible. Paul — would love a recap of your recent charity shop finds — one of my favorite SDE features over the years.
Please consider. Thank you. Certainly in when I was a teenager it was the only compilation stocked in places like Woolworths.
The Ryko version goes to 93 and Jump They Say. The cassette single of Fame 90 was, even 30 years ago, awful! The album seems to be like an acoustic tour program. In my memory it was a funeral album for everything David has done before. Actually his career took a new direction with Tin Machine. I think David wanted to get rid off his past, so celebrate it for a last time with all of the old fans and make a lot of money with a world tour.
I will give the remixes a close listen tonight. Thanks Paul for your great website and everybody out there, stay save, best wishes. I saw him on that tour in Manchester Maine Road. He looked very cool in a black suit and open neck white shirt with bequiffed hair. The Sun newspaper ran a campaign asking fans to request Laughing Gnome. And yes, he did promise that it would be the last time he played these songs live. To me a pointless and boring compilation but then again I wasnt the target audience.
The Rkyo boxset is the definitive compilation for me…still love it. I have it on cd but way to many great songs missing! My favourite bowie compilation is the 3cd nothing has changed! ChangesOne is still a favourite amongst fans. ChangesTwo is generally disliked, a sloppy follow up to what could have need a great compilation.
The coolest record cover ever and my first Bowie record cassette. I bought it from Britannia Music Club. I bought the recent CD reissue in an independent record shop in Cornwall last year.
To do the man justice I would choose a hybrid of greatest hits and best songs which looks like they did here. My next foray into Bowie was the run of remasters which I collected, and despite others misgivings about the quality of these, they are still my go-to Bowie albums for the catalogue up to Tin Machine.
All the Ryko remasters are single discs with the bonus tracks on the end apart from live albums that were 2CD. I bought in cassette for the reasons you mentioned that the cd omitted 3 tracks and so the cassette was better value.
For me it never left my tape player or the car for many years after that. However, as I got the sound and version box set in America later that year at half the price that it was in the UK it quickly became redundant to me in that respect. That box set blew my mind at how experimental he was during the both Station To Station and the Berlin year. However, this collection fails to that due to time constraints but for a novice to his work it serves some sort of purpose.
It was an absolutely magical set and while The Singles was far more comprehensive, this was the strongest introduction possible. I well remember looking at this on vinyl at the time of release and thinking that there were just too many important hits missing to warrant a purchase.
They should have done a triple gatefold sleeve with loads of photos and in-depth liner notes etc. At least you got a lyric sheet but it could and should have been so much better. Kudos to the sleeve of ChangesBowie which I still think is terrific! This was basically a reissue of the ChangesOneBowie with a patchy collection of latter day hits included. Ryko should have went with a new rather than recycled compilation and EMI should have done likewise.
Most of the Singles collection contained album versions as far as I recall. I ended up buying all of the Rykodisc clear vinyl reissues up as far as David Live and the CD equivalents. It was good to have the bonus tracks on a separate LP mostly. The OBI strips are nice too — overall a great looking package. There was a clear vinyl Changesbowie as well — I bought the compilation on vinyl and CD at the time. The latter was a disappointment with just 18 tracks — they really should have done a double.
Agree re Diamond Dogs — an awkward fit — and they could have used the single edit to gain more space — also for Rebel Rebel. The US single mix loses 90 seconds so should have been considered.
Six and beyond tracks was quite a lot — would have dropped China Girl for DJ. I regret not getting those clear vinyl pressings. I have very fond memories of this compilation and the Fame 90 mix! From there I eagerly anticipated the album re-issues from Rykodisc in the early 90s.
That probably should have been in. Both albums were practically recorded back to back. Your email address will not be published. Search Search. Skip to content. March 22, at Reed says:. March 21, at David Fisher says:. RJS says:. March 23, at Definitely swimming against the tide there! Albert says:. March 20, at Dave H says:. John McCann says:. SimonP says:. Fuller says:. March 19, at DiscoDave says:. Paul Sinclair says:. Michael says:.
Reply Notify me Helpful. The tracks collected here make a great album together as well as a collection of hits This pressing also sounds really great, very very nice. Reply Notify me 1 Helpful. Add all to Wantlist Remove all from Wantlist. Have: Want: Avg Rating: 4. Meine Platten by Cramsing. CD by railrunner. My cassettes tapes by Lurtz. Karl by karl. Pop Rock by king. LP collection by flomalie.Golden Years Composed By – David Bowie Drums – Dennis Davis, Roy Bittan Guitar – Earl Slick Producer – Harry Maslin: A3: Sound And Vision Composed By – David Bowie: A4: Heroes Composed By – Brian Eno, David Bowie Synthesizer, Keyboards, Electronics [Guitar Treatments] – Brian Eno: A5: Ashes To Ashes.