The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (2012 Remastered Version)

David BowieJune 16, 1972
Pop℗ 2012 Jones/Tintoretto Entertainment Co, LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company
456
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The Rise and Fall of Ziggy Stardust and the Spiders from Mars is the fifth studio album by English musician David Bowie, released on 16 June 1972 in the United Kingdom. It was produced by Bowie and Ken Scott and features contributions from the Spiders from Mars, Bowie's backing band — composed of Mick Ronson, Trevor Bolder and Mick Woodmansey. The album was recorded in Trident Studios, London, like his previous album, Hunky Dory. Most of the album was recorded in November 1971 with further sessions in January and early February 1972.
Described as a loose concept album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars is about Bowie's titular alter ego Ziggy Stardust, a fictional androgynous bisexual rock star who acts as a messenger for extraterrestrial beings. The character was retained for the subsequent Ziggy Stardust Tour through the United Kingdom, Japan and North America. The album, and the character of Ziggy Stardust, were influenced by glam rock and explored themes of sexual exploration and social taboos. A concert film of the same name, directed by D. A. Pennebaker, was recorded in 1973 and released a decade later.

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Songs
Popularity
1
Five Years4:43
2
Soul Love 3:34
3
Moonage Daydream4:39
4
Starman4:14
5
It Ain't Easy 2:57
6
Lady Stardust3:21
7
Star2:47
8
Hang On To Yourself 2:39
9
Ziggy Stardust3:14
10
Suffragette City3:28
11
Rock 'N' Roll Suicide2:58
4.9
456 total
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Additional Information

Genres
Tracks
11
Released
September 25, 2015
Label
℗ 2012 Jones/Tintoretto Entertainment Co, LLC under exclusive license to Parlophone Records Ltd, a Warner Music Group Company
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
The frequency of The Beatles’ albums seems startling now but as ten months passed between the release dates of Revolver in August 1966 and the next LP on 1 June 1967, there was much speculation about what was seen as a long gap. The wait was the result of The Beatles pursuing a new direction. They had decided that their concert at Candlestick Park, San Francisco on 29 August 1966 would be their last. Touring had become musically frustrating and too dangerous. In December 1966, Paul explained: ‘We feel that only through recording do people listen to us, so that is our most important form of communication. We take as much time as we want on a track, until we get it to our satisfaction.’

With Sgt. Pepper, The Beatles and producer George Martin showed the world what could be achieved with this approach. Their experimental and painstaking work meant that around 400 hours were needed to complete the LP - an astonishing total at that time. Unusual studio techniques were applied throughout Sgt. Pepper. Artificial Double Tracking, or ‘phasing’ as it was nicknamed, was used to alter the true sound of an instrument or a voice. There was also the speeding up and slowing down of tapes during recording and mixing, which changed the tempo and pitch of a voice, instrument or whole song.

No singles were released from Sgt. Pepper, although it includes two of the best known Lennon/McCartney hits - ‘With A Little Help From My Friends’ and ‘Lucy In The Sky With Diamonds’. The songs range across styles from the poignant ballad ‘She’s Leaving Home’ to the jaunty music hall pastiche ‘When I’m Sixty-Four’ and the giddy fairground atmosphere of ‘Being For The Benefit Of Mr. Kite!’. The album ends with ‘A Day In The Life’ - a composition seamlessly combining two distinct ideas originating from John and Paul. The most radical aspect of its arrangement was the superimposition of an orchestra building to a cacophonous climax. George Harrison’s ‘Within You Without You’ introduced pop fans to the unfamiliar sound of an Indian ensemble trading licks with a classical string section. However, it is not only the exotic instrumentation on the album that dazzles, listen for the soulful drum fills, exciting guitar flourishes, elastic bass lines and characterful vocals.

As the sessions for Sgt. Pepper progressed, George Martin recognised the commercial risk he and the group were taking: ‘As it was getting more and more avant-garde... there was a slight niggle of worry. I thought, “Is the public ready for this yet?”’. It was.
Starting in 2002, David Bowie released two excellent albums in quick succession with old friend Tony Visconti (the brooding Heathen and the more rocking Reality) that showcased a refreshed and reinvigorated artist. Neither of these were the reputation-changers they deserved to be but funny how emergency heart surgery and a decade spent out of the public eye reverses the blasé attitudes of both public and press.

Taken as a complete experience, The Next Day comes off as a rebellion against everything in current pop. The album was recorded very quickly, without fuss (which, truth to tell, is the usual Bowie way of working) and the songs don't outstay their welcome. Instead of riding on endless grooves provided by industry insiders, Bowie once again works with Visconti and gathers old friends on songs that have a jagged, live-in-the-studio feel. Records may just be promos for monster, money-making tours now but Bowie isn't doing concerts. The internet gives us non-stop celebrity culture, but Bowie isn't talking—so there aren't any interviews with the warm, witty Cockney to contrast against the regal, iconic alien.

Spiky and agitated without coming off as bitter, the album hurtles out of the gate with the title track, slows down on the caustic "Dirty Boys" and jumbles celebrity and mortality on "The Stars (Are Out Tonight)." The majority of the songs here are lean rockers, with Station to Station's Earl Slick juggling the lead guitar slot with David Torn. Sometimes the songs brush past previous works (is that the drum intro to "Five Years" ending "You Feel So Lonely You Could Die"?) but this is an album about the rush to a future we know isn't going to end well for any of us. The elegiac love song "Where Are We Now?" treats memories like the walking dead and holds on to loved ones in the here and now. David Bowie doesn't pretend to have any answers with The Next Day but he still pushes ahead because that is what artists do -- they create. Instead of leaving you feeling empty, listening to this dark album is a strangely satisfying, enlivening experience. – Nick Dedina, Google Play
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