Wednesday 28 February 2018

New Zealand Pop Of The Sixties: The Simple Image - Spinning Spinning Spinning (The Complete Simple Image) (2001 His Master's Voice)

This album gathers together for the first time on CD this quintessential Kiwi band’s entire output for HMV. Their first single ‘Two Kinds Of Lover' made it to the Top 20 in 1968, while the second single ‘Spinning, Spinning, Spinning’ made it to Number 1 and stayed there for a month.All the singles and their B-sides are included, as well as their last single on Columbia EMI. The original album art has been retained as it is considered by many to be a true classic for the period.
To cap it off two unreleased songs are included.
Spinning Spinning Spinning shot to number one in June, 1968, with a unique new sound producer Howard Gable had created in using a phasing technique in the chorus. The record spent a month at the top, fighting off competition from The Small Faces and The Rolling Stones.The Little Bell That Cried, reached number nine in October, 1968, and The Grooviest Girl In The World charted top three in March, 1969. The Simple Image were awarded the group award for Entertainer Of The Year in 1969.
 With their mod image of navy blue capes with pink lining, floral shirts, bell bottom trousers and cuban heeled boots, they remained teenybopper favourites but Michael and the Slipper Tree would be the groups final success when it peaked at number seven in September of 1969.(

The album can't really be called'' psychedelic'', although of course some songs of the sixties are popsike of the time back then. For the most part, there is a lot of sixties pop that is fun and catapulted the band to the top of the charts at that time.(Frank)


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Tuesday 27 February 2018

Sunshine Folk/Pop: Curt Boettcher - Chicken Little Was Right (2004 Sonic Past)

It seems like every year or so, Sundazed or some other label unearths some part of the recorded legacy of Curt Boettcher that makes his presence loom ever-larger in music, and makes the loss seem ever more tragic. Chicken Little Was Right is another one of those releases, courtesy of Sonic Past Music and their Sound City label. It was never an official album but, rather, an attempt at a starting another album in the wake of the There's an Innocent Face LP, Boettcher working again with multi-instrumentalist Web Burrell, who played all of the electric instruments and the drums, and sang most of the harmonies (and one lead) while Boettcher played acoustic guitar and sang most of the leads. According to Burrell, the album was barely started, and a lot of changes would have been made before any of these songs -- apart from the leadoff track, "I Call You My Rainbow" (which was close to complete and is a gem that belongs in any Boettcher anthology) -- was heard by the public. But from what one hears on this CD, it's more listenable as is than a lot of records that made it out onto the market in the 1970s; oh, one could add a drum part here, or a bass there, and some keyboards elsewhere, but there's nothing that sounds overtly unfinished. Boettcher's singing, augmented and sometimes shared with Burrell, is exquisite, a beautifully expressive medium folk tenor, somewhat reminiscent of Gene Clark of the Byrds, that extends itself into country and even soul ("We're Dying," a song inspired by Marvin Gaye's What's Going On). The short running time coupled with Burrell's disclaimers may put some listeners off, but this is a surprisingly good place for the uninitiated to discover Curt Boettcher the performer -- the hauntingly melodic material and exquisite treatment it's accorded (even in what amounted to a demo setting) perfectly complement the richness of his better-known output as a producer, in association with bands such as the Millennium.(

A really very good piece of work which has everything that made the producer and musician Curt Boettcher famous. Fantastic harmony work and an unmistakable feeling for what makes a good song and how to make it special even with a small cast.(Frank)

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'60s Pop Rock From Scotland: Cartoone - Cartoone 1969 (2009 Deluxe Edition, Friday Music)

Formed in Glasgow, Scotland in 1969 and launched to extensive publicity, the rock band Cartoone was comprised of Mike Allison, Mo Trowers, Derek Creigon and Chic Coffils. They were previously known as the Chevrons, and as such, recorded ‘Too Long Alone’ for Pye Records in 1966. The group honed their songwriting talents during the ensuing years, and when a demo tape reached Mark London, he introduced Cartoone to Atlantic Records. They signed for the company on the same day as Led Zeppelin. Cartoone, which also featured contributions from Led Zeppelin’s Jimmy Page, showed a group of undoubted promise and they undertook a punishing US tour upon its release. Guitarist Leslie Harvey augmented them during this sojourn, but when he opted to remain with Power (later Stone The Crows) a disenchanted Cartoone broke up.

Cartoone's sole, self-titled album is more known as a footnote in the late-'60s career of Jimmy Page than it is for its own merits. Page contributed guitar to the record as a session man -- though his work is neither too prominent nor too similar to what he was getting ready to do in Led Zeppelin -- and Cartoone opened for Led Zeppelin at some shows in the U.S. in early 1969, probably because of the Page association and a shared label (Atlantic Records). Not to stretch the Page/Led Zeppelin connection past its breaking point, but those whose interest in this album is piqued by that connection should know that this Scottish band's music is highly dissimilar. Far from being hard rock, it's slightly fey pop/rock with strong debts to the lighter side of the late-'60s Beatles and, more apparently, the late-'60s Bee Gees.
Singer/bassist/guitarist Derek Creigan has a far less delicate delivery than the Gibb brothers, but certainly the melancholy melodies, ornate arrangements, and trembling vocal timbres of songs like "Withering Wood," "Girl of Yesterday," "I Can't Walk Back," and especially "Mr. Poor Man" can't help but bring early Bee Gees to mind. Yet Cartoone seemed to be suffering from some indecision as to how to define themselves, with some other tracks indicating some harder-rocking ambitions (especially the opening and most Beatlesque track, "Knick Knock Man"). Other cuts load on so much orchestration that they seem to aim to the right of the Bee Gees, as stabs at the more bombastic and ballad-oriented slice of the late-'60s British pop market. The common shortcoming, as is so often the case in records reflecting numerous trends of the period, is in the material, which just isn't as distinguished as that of the Bee Gees, let alone the Beatles.(

Of course, the band didn't have as much standing power as the bands mentioned above. Nonetheless, they had a whole series of songs on the album that set themselves apart from the average. The band could show a certain independence in their songs. The band was always best when they were a little rockier. Knick Knack Man, Let Me Assure You are good examples. But also other songs are convincing.(Frank)

Monday 26 February 2018

Sorrows - You've Got What I Want - The Essential Sorrows 1965-67 (2010 Grapefruit)

Despite the group's limited commercial success, there have been several Sorrows CD compilations. Why should you get this one, whether you already have Sorrows collections or are looking for the best Sorrows anthology? Well, the 30 tracks do include everything essential from their mid-'60s prime, including both sides of their seven 1965-1967 singles; the stereo version of their 1965 album Take a Heart, which included a couple songs not on those 45s, as well as slightly different, re-recorded versions of some numbers that also appeared on singles, and four outtakes.
That in fact totals up to almost everything the Sorrows recorded in the mid-'60s, not merely their best tracks, though it does omit some foreign language versions and outtakes that have appeared on previous compilations. More importantly, however, it has a 16-page booklet that's amply illustrated with vintage photos and clippings, along with a lengthy history of a band that really hasn't been too well documented in other liner notes or vintage rock-oriented magazines.
Most importantly of all, much of it's simply terrific music from the tougher side of the British Invasion, though the Sorrows are largely unknown (especially in the U.S.) to this day. Though more pop-oriented than the Pretty Things (whom they most resemble among notable British mid-'60s groups in their fusion of R&B and pop), and possessed of as strong an identity and original innovation as the Pretty Things or the Yardbirds, the Sorrows will nonetheless strongly appeal to fans of such bands.
It's true, too, that some of the more marginal B-sides and outtakes here aren't so hot, but there are too many outstanding songs here to list in one sentence, including their one sort-of British hit ("Take a Heart") and their successful progression into psychedelia ("Pink Purple Yellow and Red").(Richie Unterberger,

I didn't really expect to have the same opinion about a review written by Mr. Unterberger. But now it happened :-). This collection is just great and highly recommended.(Frank)


IndiePunkPower Pop by Dot Dash - Searchlights (2016)

After working with legendary producer Mitch Easter on their 2015 album, Earthquakes & Tidal Waves, and getting a layered, almost polished sound that pushed their punky pop sound far closer to the latter part of that equation, the lads of Dot Dash made a left turn on their next release. Arriving in 2016, Searchlights is produced by Missy Thangs, who also worked with Ex Hex, and together they went for a much rougher, more punishing sound. The guitars are cranked to ear-damaging levels, Terry Banks' pleading vocals are way out front, and the rhythm section drives it forward with serious intent, making it far more raw and action-packed, almost like a band running through its set at top volume in a dingy basement.
The jangle is almost all gone, the sweetness has been replaced with something more jagged, and there's even a bit of heavy metal in the mix, mostly thanks to Steve Hansgen's brutal guitar work on tracks like "10,000 Days." The mix of poppy melodies and overdriven guitar histrionics is reminiscent of the Fastbacks, or for a more up-to-date reference, Tony Molina. Banks, too, sounds more intense this time out, pushing past the sweet croon of past records in the direction of something more insistent, even getting growly on some of the punkier tunes. It's an interesting change of direction for Dot Dash that works thanks to the passion and excitement they give to each song. Instead of their usual well-groomed and almost pristine sound, this feels like the work of a band with something to prove and some stuff to work out.
They may lose a few fans who really connected with their previous sound, but the songwriting is still there, as is their knack for simple hooks that stick like glue. Those two factors go a long way in making Dot Dash's transition to this new sound a smooth one and Searchlights a worthy addition to their résumé.(

Here the band sounds rougher again and it sounds good. But i think both ways of production have advantages. Mitch Easter made a more pop sound for the band and in my opinion it fitted very well on their Earthquakes... album. Here is more guitar drive but also a lot of fine melody lines. To me again a great album from this completely underrated band. Play loud...LOUDER!(Frank)

If you want to buy the album the band have a great offer:

Sunday 25 February 2018

Harmony/Pop Rock with a little psychedelic sounds from the early '70s: The Buoys - Golden Classics (1993 Collectables)

The Buoys were one of a group of one-hit wonders from the early 1970s. Billy Kelly (lead vocals), Fran Bozena (keyboards), Gerry Hludzik (bass), Chris Hanlon (guitar), and Carl Siracuse (drums), from Wilkes-Barre, PA., generated a Top 20 hit with "Timothy," written by Rupert Holmes, who also played some of the keyboards on their album for the Scepter label. (Holmes later had his own chart success as a singer with "Escape (The Pina Colada Song)" and "Him," before embarking on a career on Broadway with The Mystery of Edwin Drood in the late 1980s.) The Buoys vanished from the charts and the airwaves after two additional, far more modest chart entries, "Bloodknot" and "Give Up Your Guns," but later moved to Polydor before dissolving in the mid-1970s. Kelly and Hludzik subsequently returned a decade after "Timothy" as part of the group Dakota.(

Nice album of pop rock from the early seventies. The band worked with vocal harmonies that became very popular in the later seventies. The band had creative song material and they clearly had their own vision of their music. Too bad the band broke so fast.(Frank)

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Sixties Pop; Peggy March - If You Loved Me - RCA Recordings From Around The World 1963-1969 (2017 Ace Records)

Between 1963 and 1969, which Ace Records’ twenty-six track compilation If You Loved Me-RCA Recordings From Around The World 1963-1969 covers, Peggy March had already enjoyed number one singles in America, Australia, Canada, Germany, Hong Kong, Israel, New Zealand, South Africa and Uruguay. Having enjoyed number singles ones in nine different counties, Peggy March should’ve been well on her to becoming a wealthy young woman by 1969.

Sadly, like many singers and bands, Peggy March never received the money she had earn. It was alleged that her manager had ‘borrowed’ money, but never repaid it. This meant that when Peggy March graduated from high school in 1966, the cupboard was almost bare. All that was left was $500, which meant all her hard work and the sacrifices she had made was for nothing.

At least Peggy March continued to enjoy commercial success after 1966 outside of America. This included a number one in Germany in 1967. However, the money that Peggy March had earned during the most successful period of her recording career was long gone, allegedly squandered by her ex-manager. This didn’t put Peggy March off music, and her career continues to his day.

Nowadays, sixty-nine year old Peggy March is still singing and can be found in Las Vegas. She’s a musical veteran, whose professional career began fifty-six years ago. The early years of her career is documented on If You Loved Me-RCA Recordings From Around The World 1963-1969 which features singles, B-Sides and tracks from albums and EPs. The songs on If You Loved Me-RCA Recordings From Around The World 1963-1969 showcase the truly talented Peggy March, who already had the ability to breath life, meaning and emotion into lyrics.
Over that next six years she matured and blossomed as a singer, during what was the most successful period of her recording career. During the period that If You Loved Me-RCA Recordings From Around The World 1963-1969 documents, Peggy March enjoyed number one singles in nine different countries and enjoyed hit singles in Asia, Australasia, Europe, North America and South America. By 1969, the former Little Peggy March had come a long way in the space of just six years.(
This is just a small excerpt from the bio on

I knew Peggy March mainly as a German singing pop singer from the USA. Much later, however, I got to know another Peggy March who can really be heard with her music. The Ace Compilation is a great compilation about the musical work of Peggy March in the sixties.(Frank)

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Psychedelic Pop From 1968; Twinn Connexion - Twinn Connexion 1968 (2001 Hugo Montes Productions)

Twinn Connexion was the moniker adopted by a pair of identical twins from Helena, MT -- James E. "Jay" Hopkins and his brother Jerry Hopkins. They had been singing together since grade school, and by the time they were in high school they already had their own TV show in the local Helena area. After performing statewide to much success, they eventually migrated to New York City where they were discovered singing in a Greenwich Village coffeehouse by a Decca Records exec. The twins were signed to the label and assigned to work with producer Jerry Keller (who had a hit of his own in 1959 with "Here Comes Summer"). Keller and longtime producing/writing associate Dave Blume wrote songs for the duo, which were recorded with backing from various members of the New York-based Carolyn Hester Coalition (sans Carolyn Hester). The twins appeared side by side on the cover of their self-titled album's release, wearing matching yellow and white textured Nehru suits, with green ascots and tiepins with the symbol "2x" (as this was 1968, it was perfectly acceptable to appear in public this way). The entire album -- a psychedelic soft pop treat with fantastic arrangements, and mildly experimental touches, like electric sitar and harpsichord -- is as good as anything similar from this same era. The song "Foolin' Around" appeared on The Melody Goes on Soft Rock, Vol. 3, issued by Chu Takahashi's Japanese-based M&M (MMCD 1024), but Twinn Connexion itself is, unfortunately, not currently available on CD. LP copies command extremely high prices from collectors. Jay Hopkins passed away on September 6, 2001, at age 60, in Manhattan, NY, of heart failure. From the early '70s to the time of his death, he worked as a metals trader for various companies including Prudential and Merrill Lynch, where he was a vice president. His brother Jerry Hopkins is still living in New York.(allmusic)

This is an unofficial release of the album. Since the Now Sounds release from 2010 the album is not available on CD as far i know. This is the album without bonus tracks. But the album is a fine piece of sixties pop music.(Frank)

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Saturday 24 February 2018

Sixties Pop,Merseybeat by The Gants ‎– I Wonder (2000 RPM Records)

An identically titled compilation of Gants material, with identical liner notes, appeared as an 18-track LP on Bam Caruso in 1988. This is essentially a CD expansion of that album, retaining all 18 songs from the LP and adding a further dozen for a total of 30. Hence it's a preferable makeover from every vantage point, particularly as it includes three vital tracks that were somehow omitted from the LP configuration: "Roadrunner" (their sole national hit), their 1966 single "Little Boy Sad" (a crunching cover of a song previously done by Johnny Burnette), and the Rolling Stones-like original "(You Can't Blow) Smoke Rings." As with the 1988 Bam Caruso LP, star tracks include the country-rock beat ballad "Spoonful of Sugar" (which recalls the material on Beatles for Sale), the Merseybeat imitation "I Don't Want to See Her Again," and the poignant folk-rocker "I Wonder."

A few tracks with strings produced by future Bread leader David Gates in 1967 are OK, but don't fit the group's best qualities. On the other hand, it has to be noted that most of the covers of rock and R&B hits (like "Kicks," "Out of Sight," "Rain," and "Good Lovin'") that comprise most of the newly added cuts are inessential, and that the original "I'm a Snake" is nothing more than a clumsy rewrite of "Roadrunner."(Richie Unterberger,

The compilation is a solid thing that makes fun and has a lot of good songs to offer. Like many of their musical contemporaries, the Gants also sound like the Fab Four in some of their songs, but they do that well and that's why I think it's forgivable. Good pop music with a little bit of Beatles spiced up.(Frank)

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Friday 23 February 2018

Sixties Brit Pop: Dave Dee, Dozy, Beaky, Mick & Tich - If Music Be The Food Of Love...Then Prepare For Indigestion 1967 (2003 Repertoire)

Dave Dee, Dozy, Beaky, Mick & Tich followed up their self-titled debut LP with the tongue-in-cheek If Music Be the Food of Love...Then Prepare for Indigestion (1968). The quintet of Dave "Dee" Harman (guitar/vocals), Trevor "Dozy" Davies (bass), John "Beaky" Diamond (rhythm guitar), Michael "Mick" Wilson (drums), and Ian "Tich" Amey (lead guitar) return with another batch of strong Brit-pop compositions, including a pair of their most prolific sides, "Bend It" and "Hideaway." While all but unknown stateside, the combo became hugely popular throughout Europe -- which may well account for the distinctly conspicuous Mediterranean flavor on the former.
Their left-of-center sense of humor surfaces on the Noel Coward-esque potty platter "Loos of England." Matching their obvious wit was an equally sharp musicality, effortlessly transcending concurrent pop music styles. Their range at once incorporated the full-throttled backbeat of "Bang" and the decidedly hip "Hideaway" and "Hands Off!" "Shame" is an edgier tune, with a mod progressive slant that would not be out of place from the likes of the Yardbirds.
This is contrasted by the emotive "All I Want" or the cover of Robert "Bumps" Blackwell's "Hair on My Chinny-Chin-Chin," which is perhaps best known via the Sam the Sham & the Pharaohs version. While the prospect might sound odd, it seems no more out of place than the Who's reading of "Heat Wave," for instance.
Interested parties should note that the 2003 reissue of If Music Be the Food of Love... contains 14 supplementary mono and stereo bonus track mixes, including "Touch Me, Touch Me," "Zabadak," the proto-punk "He's a Raver," and others.(

The album showed the band from their strongest side. Sufficient single material was present on the album and the band was very versatile. This is a great pop release where it's hard to name favorites because the album is full of them. Also the bonus material is convincing and I think' 67,' 68 the band could not do much wrong. The record is great fun.(Frank)

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David Bowie With Dana Gillespie ‎– Make Way For The Rock And Rollers 1971 (2013 Godfather Records)

It’s all but impossible to remember a time when anyone had to introduce David Bowie. But back in the summer of 1971 – a year before Bowie’s breakthrough album, “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” would catapult him to worldwide fame and forever change the thing people thought of when someone mentioned “Bowie” (no, it’s not just a hunting knife) – his manager went to work promoting this scuffling, relatively unknown talent.

That manager, Tony DeFries, knew he had something special on his hands in the soon-to-be-issued “Hunky Dory,” the LP that would precede “Ziggy” by a mere six months (in those heady days, Bowie’s early albums proliferated nearly as quickly as Dylan and Beatles’ LPs had the previous decade). He was also prepping for the release of another one of his Mainman management company’s new artists, a promising young singer-actress named Dana Gillespie, whose 1973 debut would be co-produced by Bowie and his guitarist Mick Ronson.

As was the order of the day back then, DeFries decided to maximize the collective crossover potential of his two clients by pressing up a reported 500 promotional LPs to be sent to press and radio station programmers (a Holy Grail long referred to by collectors as “BOWPROMO1” after the etchings in the LP’s inner run-off groove). Although Bowie’s career, as we all know, blasted off like Major Tom’s rocket ship, Gillespie’s equally stylistically diverse debut, titled “Weren’t Born A Man,” would prove far less successful (despite the rather randy LP cover art of a fetching Dana in a boudoir-ready lingerie get-up that while musically misleading – there were no striptease numbers, for instance – left little doubt that she was indeed very much of the female persuasion, as her album’s title indicated).
Gillespie would eventually transition to a successful and varied acting and recording career, appearing in British stage adaptions of the Who’s “Tommy” (playing The Acid Queen) and “Jesus Christ Superstar” (as Mary Magdalene, no less – talk about range). And, having eventually turned to the blues as her genre of choice, she’s rarely stopped singing and recording scores of albums over the past 45 years.

That said, “Make Way For The Rock And Rollers,” this new Godfather release credited to David Bowie with Dana Gillespie, and featuring a nice “Hunky Dory”-era cover portrait of the two artists, is likely to be mainly of historical interest to Bowie collectors and completists not in possession of one of those elusive and expensive 500 promo LPs. The package is a pristine audio reproduction of that long-ago DeFries promo, presented in typically lavish Godfather fashion, both audio and visual. The recordings come housed in a sumptuous tri-fold cardboard cover jacket with an array of slightly color tinted “Hunky Dory” photo session publicity stills of a long-locked Bowie — a far cry from the plain LP sleeve that housed, and white labels that adorned ,the original promotional album. (Alas, unfortunately save for the front cover and a modest insert booklet featuring a longer-pan shot of the front cover, there are no other publicity shots of the equally photogenic Gillespie to be had, boudoir or otherwise. A pity, that).

The bulk of “Rock and Rollers,” mostly recorded at London’s Trident Studios in 1971, belong to Bowie, although Gillespie does get five tracks to herself, including a crisply magnetic cover of Bowie’s (and Bowie/Ronson-produced) “Andy Warhol,” which Bowie reportedly originally wrote for her. She also delivers an expressively poignant vocal on “Never Knew,” which happens to be one of the finest tacks here and wouldn’t sound out of place on an early ‘70s Laura Nyro, Sandy Denny, or Joni Mitchell album. Likewise, the Grace Slick-Ian pop-rock of “All Cut Up On You” demonstrates Gillespie’s self-assured strengths as a vocalist seemingly as capable of as many stylistic permutations in her way as Bowie was in his. Small wonder she later proved herself so adroit in live musical theater.

But back to Bowie. Curiously and incredibly, the promo did/does not include “Changes,” Bowie’s biggest hit from “Hunky Dory” and one of the defining songs of his illustrious career. It does, however, include “It Ain’t Easy,” a terrific track that would not appear until the follow-up “Ziggy Stardust” record six months later.  Although this track is the same version that would appear on  “Ziggy,” the remaining Bowie selections all feature different, early mixes from the album proper. Some of the differences are subtle and fairly nominal: Fadeout times, instrumental emphases, or a dollop of echo added or subtracted (no reverb on Bowie’s vocals on the promo version of “Queen Bitch,” but some reverb added to Ronson’s guitar part, for instance). Other disparities are more dramatic: We get an entirely different vocal take on “Eight Line Poem,” for example, with the echo effect also removed on the word “collision” in the lyrics. (For a detailed track-by-track breakdown, this site proved very helpful and useful: All are presented here in superb stereo sound quality, but there is no mention in Godfather’s liner notes where and how this was sourced. We’re guessing either the original master tapes (yes, it sounds that good), or a pristine copy of the promo (if the latter is the case, a big thank you to whomever lent out their copy for this release).

Whether hearing these rare versions or the officially released tracks, this material makes a convincing case for “Hunky Dory” as much more than merely the promising predecessor to its far more famous, orange-maned counterpart. While “Hunky Dory” may have lacked the calculated genius of the all-encompassing, yet marvelously self-contained image that Bowie projected, promoted, and cultivated with “Ziggy,” the album is every bit its musical equal. Just try to imagine the impact of what it must have felt like for a radio programmer, say, to hear songs like “Queen Bitch” (reportedly written about, and upon meeting, Lou Reed in New York) or “Oh! You Pretty Things” for the first time. Even now, forty-plus years on, their brash immediacy and subversive pop sophistication is striking.

Godfather’s title also tacks on five studio outtakes, also from the same year: 1971’s sessions for the ultimately aborted “Shadow Man” project that never saw the light of day once Bowie hit upon his “Ziggy” concept/personae. (Bowie did re-record a new version of “Shadow Man” in 2000 for an also aborted album that was to be titled “Toy”; that remade version later surfaced as B-side to the 2002 singles “Slow Burn” and “Everyone Says ‘Hi’”). Though these demos are presented in lesser quality than the promo proper’s tracks, and with a smidgeon of acetate-like hiss, they make for a nice period-accurate bonus. Taken together, this handful of tracks offers the listener a prime example of what Bowie’s demos sounded like at the time, when he was still shaking off the last vestiges of his florid but floundering baroque folk-pop period and searching for a fresh voice.

Bowie collectors may have previously come across this non-earth-shattering fare – the Manfred Mann/”Quinn The Eskimo”-soundalike, “Looking For A Friend”; the Move-ish “Rupert The Riley”; or the muted and unremarkable “Shadow Man” – on various earlier unofficial releases. But in its own way, the somewhat lackluster music nevertheless paints a dramatic portrait that illustrates just how creatively far Bowie was able to come in such a staggeringly brief amount of time. The relative ordinariness of the “Shadow Man” material stands in stark contrast to the brilliant creative watershed to come, when “Hunky Dory,” “Ziggy Stardust,” and “Aladdin Sane” were all written, recorded, and released within an amazing two years of each other.

In an interview nearly 30 years later, Bowie took note of that pivotal period in his life, when anything and everything seemed possible for this marvelously chameleon-like artist of many guises and gazes.“Hunky Dory gave me a fabulous groundswell,” Bowie recalled in an interview with “Uncut” magazine in 1999. “I guess it provided me, for the first time in my life, with an actual audience – I mean, people actually coming up to me and saying, ‘Good album, good songs.’ That hadn’t happened to me before. It was like, ‘Ah, I’m getting it, I’m finding my feet. I’m starting to communicate what I want to do.”(

I thought i post some little different stuff. I am not THE Bowie fan but at beginning of the seventies until around '76 he had done his best works in my opinion. This collection is recorded 1971.(Frank)