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David Bowie - Time May Change Me: From Stardust To Stardom '2015

Time May Change Me: From Stardust To Stardom
ArtistDavid Bowie Related artists
Album name Time May Change Me: From Stardust To Stardom
Country
Date 2015
GenrePop
Play time 7:39:02
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 2.20 gb / 4.53 gb
PriceDownload $8.95
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Tracks list

:: TRACKLIST ::

Disc 1 - Hemel Hempstead Pavilion, Hertfordshire, UK; May 7, 1972
01. Hang On To Yourself
02. Ziggy Stardust
03. The Supermen
04. Queen Bitch
05. Song For Bob Dylan
06. Changes
07. Starman
08. Five Years
09. Space Oddity
10. Andy Warhol
11. Amsterdam
12. I Feel Free
13. The Wild Eyed Boy From Freecloud
14. Moonage Daydream
15. White Light, White Heat
16. Gotta Get A Job
17. Suffragette City
18. Waiting For The Man

Disc 1 (75:00) Hang On To Yourself, Ziggy Stardust, The Supermen, Queen Bitch,
Song For Bob Dylan, Changes, Starman, Five Years, Space Oddity, Andy Warhol,
Amsterdam, I Feel Free, The Wild Eyed Boy From Freecloud, Moonage Daydream,
White Light White Heat, Gotta Get A Job, Suffragette City, Waiting For The Man

The recording from Hempstead was a long hoarded show that finally saw its
release in 2014, the audience source has sound is good and clear, if I was to
describe its sound I would use Luis Rey’s description of Led Zeppelins
January 10, 1969 concert being like a “yellowed manuscript”.
Bowie’s voice and the drums are clear in the mix, the guitars are just a
tad lower, the taper paused his machine during the songs so much of the banter
or tuning is cut. That being said this is one of the best recordings of the
early Ziggy concerts, there has been one prior release, Ziggy In Hemel Hempstead
1972 (Delden DEN-25).

Hang On To Yourself and Ziggy Stardust make for great openers, the two songs
would stay in this spot for all the Ziggy concerts. The Superman is quite
powerful, the acoustic verse sections are in direct contrast to the electric
chorus, Mick Ronson’s guitar playing is superb. Song for Bob Dylan finds
Bowie singing more in his own voice versus the album version where he seems to
emulate Dylan’s vocal style. Changes is greeted with a nice round of
applause, but the real highlight of this recording is a rare live version of
Starman. Curious as to why the song did not have a longer life in the set, it is
great live and the band play a great version of the song, again Mick
Ronson’s guitar playing is excellent.

Space Oddity is the acoustic version, for me just as effective as the full band
versions thanks to David’s wonderful vocals that harken back to his early
folk influences. The backing vocals are perfect, Ronson accentuates the choruses
and one of the Spiders can be heard early on in the back doing the
“countdown”. Trevor Bolder’s bass runs later in the song take
the place of the guitar solo, great version of the beloved classic. Andy Warhol
is greeted by polite applause, what a great song and the rarity Amsterdam round
off a mini acoustic set, Bowie does an excellent vocal on the latter. To take
the concert back in an electric phase, they tackle Cream’s I Feel Free,
Ronson’s leads throughout the song are superlative, the group gets into a
jam like they would later expand upon during Width Of A Circle, a bit of flexing
the chops. Another deep cut in this recording is Wild Eyed Boy From Freecloud
from his self titled second record, the last bit of eclectic folk musing before
the rock and roll finale.

Great version of Moonage Daydream, sounds as if Mick has not yet settled on his
solo as he starts off a bit tentatively then unleashes his full fury. David
introduces White Light, White Heat as being from the American composer Lou Reed.
Bowie meeting him as well as Andy Warhol would have a significant impact on him
and would solidify future projects with the avant guard styling of Reed. The
Spiders would always do great versions of Lou’s songs, this song and
Waiting For The Man are perfect examples. One of the first samples of this
concert would be the improvisational piece Gotta Get A Job, it sounds like an
early attempt at funk and soul music and in true James Brown fashion he includes
a snippet of Hot Pants. Suffragette City brings the set to a rousing conclusion,
and the band come back for “some more rock and roll” and finish the
show with Lou Reed’s Waiting For The Man. Well played and energetic early
Ziggy concert.
Disc 2 - Cleveland Public Hall, Cleveland, Ohio; November 25, 1972
01. Hang On To Yourself
02. Ziggy Stardust
03. Changes
04. The Supermen
05. Life On Mars
06. Five Years
07. Space Oddity
08. Andy Warhol
09. Drive In Saturday - Omitted (official release)
10. The Width Of A Circle
11. John, I’m Only Dancing
12. Moonage Daydream
13. Band intro
14. Waiting For The Man
15. The Jean Genie
16. Suffragette City
17. Rock’n Roll Suicide

Disc 2 (74;01) Hang On To Yourself, Ziggy Stardust, Changes, The Supermen, Life
On Mars, Five Years, Space Oddity, Andy Warhol, Drive In Saturday, The Width Of
A Circle, John I’m Only Dancing, Moonage Daydream, Band Intro, Waiting
For The Man, The Jean Jeanie, Suffragette City, Rock ‘n’ Roll
Suicide

The second show of the Ziggy Rises portion is from the first of two concerts in
Cleveland in November 1972. The audience recording is very good and was done
close to the stage picking up the vocals and instruments nicely and gives us,
the listeners, a wonderfully ambient recording with the atmosphere perfectly
captured. There have been a few prior releases of this material, Va Va Va Voom
(Savage Hippo SH-120), Ziggy’s Invasion Of America (Stardust 721125), and
Cleveland Music Hall (Gold Standard). While the Heampstead recording finds the
band in the formative stages of the Ziggy character and stage presentation, a
mere five months later the set and performances are pure rock and roll theater
The confidence in the group, especially Bowie, is blatantly obvious and the
space alien persona is certainly “on” for this concert.

Hang On and Ziggy Stardust get the audience warmed up, Changes is moved up
making for a real rock and roll extravaganza to begin the show. Gone is the deep
tracks found earlier in the UK tour, Life On Mars is added to the set with Mike
Garson faithfully reproducing Rick Wakeman’s beautiful piano so
wonderfully melodic. A semi acoustic interlude is played consisting of Space
Oddity, Andy Warhol and a new song. While on tour in the USA, Bowie would begin
writing much of the material that would be found on Aladdin Sane, Drive In
Saturday is one of those songs that was premiered in November 1972, in fact in
introducing the song Bowie asks anyone recording the concert to turn off the
recorder for the song! The audience listens intently to the music and is
respectfully quiet throughout the song, The Width Of A Circle is the audiences
reward. The band gets a couple extra minutes to flex their muscle during the
song, The Spiders were a great unit and this song is a perfect vehicle for their
improv amid one hell of a riff. The Cleveland audience is treated to a song most
had probably not heard prior, John, I’m Only Dancing was a single deemed
too risque to be released in the US and is very much the version from earlier in
the tour on the now official Santa Monica concert.

Moonage Daydream is starting to become a real show stopper, Ronson’s
guitar playing in superb and the aforementioned Mike Garson adds some great
spacey type effects to accentuate the music. There is a tape cut after David
introduces the band and the first minute or so on Waiting For The Man is
missing, the ending is real rock and roll, curiously David had just recently
produced Lou Reeds famous Transformer record. Bowie tells the audience that Jean
Jeanie is something that’s been out for a couple weeks, a somewhat
lackluster to a song that would be a major hit for him. Suffragette City
finishes the set in a rollicking mood, the sole encore is introduced by David as
being “one of Ziggy’s songs” Rock ‘N’ Roll
Suicide is excellent, Ronson’s driving guitar, together with
David’s cries of “Your not alone” propels the concert (and
the first Ziggy phase) to a dramatic ending.
Disc 3 - Long Beach Arena, CA; March 10, 1973
01. Ode To Joy
02. Hang On To Yourself
03. Ziggy Stardust
04. Changes
05. Moonage Daydream
06. Watch That Man
07. Panic In Detroit
08. Aladdin Sane
09. My Death
10. The Width Of A Circle
11. Time
12. Five Years
13. Suffragette City

Disc 3 (59:45) Ode To Joy, Hang On To Yourself, Ziggy Stardust, Changes, Moonage
Daydream, Watch That Man, Panic In Detroit, Aladdin Sane, My Death, The Width Of
A Circle, Time, Five Years, Suffragette City 

Bowie’s show on March 10, 1973 at the Long Beach Arena came towards the
end of the second tour in support of Ziggy Stardust, a full recording has never
surfaced and what we have here is what is known to circulate thanks to two old
vinyl bootlegs, The All American Bowie (TMOQ 71074) and My Radio Sweetheart
(Dragonfly Records), typical with old vinyl boots, someone hacked the hell out
of the source tape so this is a composite of both LP’s with someone
taking a hell of a lot of time to clean it up and move the songs to their
original running order. Needless to say most of the between song chatter is also
missing, the positives are the edits and seams are well handled. The recording
is a good audience source, while it is the same source the Ode To Joy intro,
Hang On To Yourself, Moonage Daydream and Watch That Man all sound brighter and
are close to being very good. The mix favors the vocals and guitars while the
drums can be heard they are just a tad lower, the recording does a perfect job
of picking up the ambience and energy of the show. The missing songs are John,
I’m Only Dancing, Space Oddity, The Jean Jeanie, Let’s Spend The
Night Together, Starman, and Rock ‘N’ Roll Suicide.

What makes this recording so valuable to a collection like this is the inclusion
of material from the as of yet unreleased Aladdin Sane material. Panic In
Detroit is excellent, the band sounds much fuller thanks to the ‘spiders
being augmented by a backing singer, another guitarist, and a sax section. These
other musicians also made it so David would be free of his guitar and further
incorporate the Ziggy character to the stage. Sadly the first part of Aladdin
Sane is missing, the recording picks up with Mike Garson leading the band on
piano led improvisation set to the beat of the song, the melody is so close that
David easily starts singing “On Broadway” lyrics, at the time
probably inspired by The Drifters. Other stand out songs are an almost metallic
Moonage Daydream and a wonderful Time and Five Years. From what I’ve read
the guy who taped this show was close to the stage and sold the tape for
$100.00, I am guessing he did not make a copy, what a shame as this is as great
show.
Disc 4 - Shinjuku Koseinenkin Kaikan Hall, Tokyo, Japan; April 10, 1973
01. Ode To Joy
02. Hang On To Yourself
03. Ziggy Stardust
04. Changes
05. Moonage Daydream
06. John, I’m Only Dancing
07. Watch That Man
08. The Width Of A Circle
09. Space Oddity
10. The Jean Genie
11. Five Years
12. Let’s Spend The Night Together
13. Suffragette City
14. My Death

Disc 4 (68:45) Ode To Joy, Hang On To Yourself, Ziggy Stardust, Changes, Moonage
Daydream, John I’m Only Dancing, Watch That Man, The Width Of A Circle,
Space Oddity, The Jean Jeanie, Five Years, Let’s Spend The Night
Together, Suffragette City, Rock ‘N” Roll Suicide

David Bowie took Ziggy to Japan for a 9 date tour in mid April of 1973, this
recording comes from the second of five concerts he would play in Tokyo. There
are a couple other releases of this concert, The Ziggy Stardust Tour (Masterport
Records MR 206) and recently as part of the Truth Value Of Moment (Helden DEN
40/41/42), an interesting looking release as it features recordings of the first
three Tokyo dates. The source for this concert is a wonderful audience source,
the audience is very respectful, almost too much and are barely heard except
between songs when they politely applaud. It is just slightly distant but very
clear and detailed with no real hiss to be heard, there is a nice frequency
range. A great recording does not always mean great performance, this one comes
in as a solid performance it lacks some of the energy of the others in this set.
There is a mistake on the covers and in the booklet, Rock ‘N’ Roll
Suicide is listed as My Death.

The set list is standard, no real surprises, the Ode To Joy intro is complete,
the band plow through the first five songs before David speaks, giving a short
introduction “A song from an album called Aladdin Sane, this song is
called Watch That Man”. The song picks up the concerts energy a bit, the
band jam in the middle of Width Of A Circle shows Ronson flexing his muscles a
bit with Trevor pushing him with his bass playing and for me the song is the
highlight of this concert. Space Oddity is the full version that is very nice,
while I enjoy the acoustic versions, to hear a nice, lush sounding version is
special. Mick’s guitar just prior to the chorus is superb as he adds some
outer space ala Hendrix leads. Rock ‘N’ Roll Suicide comes from a
different source, it is far more distant yet very clear, the difference in the
atmosphere sounds different, while the rest of the recording sounds sterile this
has lots of cheering and whistling and is more lively, makes me wonder if
it’s from this show or another uncredited concert.
Disc 5 - Boston Music Hall, Boston, MA; July 16, 1974
01. 1984
02. Rebel Rebel
03. Moonage Daydream
04. Sweet Thing
05. Changes
06. Suffragette City
07. Aladdin Sane
08. All The Young Dudes
09. Cracked Actor
10. Rock’n Roll Suicide

Disc 6
01. Watch That Man
02. Knock On Wood
03. Space Oddity
04. Future Legend
05. Diamond Dogs
06. Panic In Detroit
07. Big Brother
08. Chant Of The Ever Circling Skeletal Family
09. Time
10. The Width Of A Circle
11. The Jean Genie
12. Rock’n Roll Suicide

Disc 5 (45:24) 1984, Rebel Rebel, Moonage Daydream, Sweet Thing, Changes,
Suffragette City, Aladdin Sane, All The Young Dudes, Cracked Actor, Rock
‘N’ Roll With Me

Disc 6 (58:19) Watch That Man, Knock On Wood, Space Oddity, Future Legend,
Diamond Dogs, Panic In Detroit, Big Brother, Chant Of The Ever Circling Skeletal
Family, Time, Width Of A Circle, The Jean Jeanie, Rock ‘N’ Roll
Suicide

A year after ditching the Spiders, Bowie emerged with a new album, Diamond Dogs,
and a spectacular stage presentation featuring futuristic themes inspired by the
album cover. This presentation would push the boundaries of theatrical visual
presentation set to rock music. The staging was so elaborated and difficult to
maintain that there were constant issues with the props and since the group was
behind the curtains for much of the performances, it was David who had to be
“on” every night. The concert featured here comes right after
Bowie’s multi night engagement at The Tower Theater in Philadelphia that
was the source for the David Live LP. The recording comes from the archives of
the famous East coast taper, Joe Maloney. There is an alternate and lesser
recording that was the source for an old vinyl title, Subway (FLAT 8211) that
was a 10 song bootleg LP. The Music Hall had excellent acoustics and
Joe’s tape captures the atmosphere and excitement of the performance
perfectly. The recording is a bit distant and picks up a great balance of music
to audience. The instruments are clear and well defined, and while it’s a
tad distant it sounds better at loud volumes.

The set list is strong and Bowie’s new 10 person band creates a full
musical backdrop to recreate the new music as well as offer new interpretations
of his back catalog. 1984 serves as opener and is based on the famous Orwell
novel yet it is the pop of Rebel Rebel that gets the audience up on their feet.
Moonage Daydream telling the audience defiantly “I Was The Space
Invader” in homage to his former alter ego Ziggy Stardust. Sweet Thing
features the band at their best, the interaction between the guitars and the sax
section is powerful. Changes has the vaudeville intro, but the highlight of this
tour was the Aladdin Sane material, while the band routinely did much of the
album. The title song features the Lights On Broadway reference, Cracked Actor
even borders on swing, save for Earl Slick playing some blistering leads. The
soul inspired Rock ‘N’ Roll With Me would resonate deep within
Bowie, so much the style would change the direction of the later part of the
tour.

Bowie does an admiral job on Eddie Floyd’s Knock On Wood, so enamored
with the song Bowie would actually release it as a single from the David Live
record. Space Oddity is excellent, the warp speed sounds as the ship lifts off
are excellent and the version of the song makes for a really nice one. There are
a couple of deep tracks on this recording, Future Legend and Chant of The Ever
Circling Skeletal Family are nice to have, since neither were found on the David
Live disc. Width Of A Circle is almost completely unrecognizable in its new
arrangement, but is strangely compelling, the percussive Jean Jeanie is quite
nice also and after the obligatory Rock ‘N’ Roll Suicide, the
audience cheer loudly and the announcer comes out a couple times to tell them
that “David Bowie Has Left The Theater” to a round of boos, shades
of Elvis! This is a great companion piece to those of us who love the David Live
LP as it gives you a feeling of what it was like to “be there”.
Disc 7 - Boston Music Hall, Boston, MA; November 15, 1974
01. Memory Of A Free Festival (Mike Garson Band)
02. Rebel Rebel
03. John, I’m Only Dancing (Again)
04. Sorrow
05. Changes
06. Young Americans
07. 1984
08. Footstompin’
09. Rock n Roll With Me
10. The Jean Genie (Love Me Do)
11. Moonage Daydream
12. Band intro
13. Can You Hear Me
14. Somebody Up There Likes Me
15. Suffragette City
16. Rock’n Roll Suicide
17. Diamond Dogs

Disc 7 (77:46) Memory Of A Free Festival (Mike Garson band), Rebel Rebel, John
I’m Only Dancing, Sorrow, Changes, Young Americans, 1984,
Footstompin’, Rock ‘N’ Roll With Me, The Jean Jeanie (Love
Me Do), Moonage Daydream, Band Intro, Can You Hear Me, Somebody Up There Likes
Me, Suffragette City, Rock ‘N’ Roll Suicide, Diamond Dogs

After the second leg of the Diamond Dogs tour, Bowie scraps much of the
elaborate staging of the previous dates and adds a full regiment of black
backing singers (including the legendary Luther Vandross) and moves the tour
into its “Plastic Soul” stage, of course Bowie was also working on
the Young Americans record and was fully immersed into the Philly sound. In the
Five Years documentary they look at this phase of his career and while the soul
sound is not my favorite period of his music it does give you an interesting
glimpse to Bowie’s diverse creations.

For this final disc in the set, we finish with another Joe Maloney audience
recording from the Boston Music Hall a scant four months after the previous set.
The recording is similar to the July show, very good, and a bit distant that
captures the atmosphere well. There are times where the upper frequencies
distort and the recording gets slightly muddy at times when the band is jamming
and the voices are wailing. If anything the audience’s energy level is up
a notch and one could imagine dancing in the isles as they seem very into the
concert. Memory Of A Free Festival is like the calling to the congregation to
come on down, the ceremony is about to begin. The set list is slightly shorter,
it is well documented that David was quite “medicated” on this tour.
John, I’m Only Dancing gets a workout that gets the audience on their
feet clapping along, yet the highlight of this tape is the pre release versions
of songs from 1975’s Young Americans record. Footstompin’ was
originally written by The Flairs, Carlos Alomar transformed it into Fame, as
soon as they break into it the audience reacts by clapping perfectly in time.
David gets a harmonica out as the band get into a soul rendition of The
Beatles’ Love Me Do as an intro to The Jean Jeannie much to the delight
of the audience. The versions of Can You Hear Me and Somebody Up There Likes Me
sound similar to the record versions and one could surmise that the material had
been recently recorded. The audiences rapturous applause brings the house down
when the band encore with Diamond Dogs, a well paid and most interesting
second” in Bowie’s career.
Final Word? Yes, a couple. With Bowie’s passing the collectors market has
been flooded with a myriad of releases. This is a wonderful comprehensive view
of the early genius of David Bowie, from his rise as a mod looking singer from
London to Rock and Roll chameleon ala the avant garde. Excellent subject matter,
great sound quality and excellent presentation make this new box set from Magic
Bus recommended. 
Limited edition 500 copies

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