As you know, Kevin Armstrong played on the first TM album and tour. Of course, Reeves was making enough noise that we couldn’t hear Kevin much. Did not realize or remember that Erdal Kizilcay played on Blah Blah Blah.
I took another look at the booklet last evening and found the following on page...... oh that's right, they didn't bother to number the pages internally......... "I was completely protective over everything I did, so for me loosening up on some aspects and letting Julien decide what camera shots should be used is for me passing the responsibility over. It's a bit like the album, having the courage to admit other people have their own ideas on what should be done and that I shouldn't be so graspingly self-opinionated about what's best, not granting other people the respect that they deserve as musicians or whatever job that they have. It's taken me an awful long time to get to that point. I feel much easier working in a collaboration now." This is an interview done for Tonight. On Never Let Me Down we saw him do some of that - albeit undoing Too Dizzy later - and on the Glass Spider tour we had Frampton doing a little bit of vocal. Then of course, full on with Tin Machine. I think it gives context, looking at it now, it all point to Tin Machine and what they were.
Interview with Ricky and Roy Young following Bowie's passing. BBC World Service - World Update, David Bowie remembered by friends Roy Young and Ricky Gardiner
I love Blah Blah Blah since buying it in '86 but also forgot or never knew Kizilcay was on it. I don't think I looked at the credits since then!
Link: this content doesn't seem to be working A lot of former collaborators went on record early 2016. We know George Murray didn't until Hikaru Davis got him on camera. I have never read any interview with Simon House though, or missed it ...?
Episode 8 on YT. Really short again and pretty pointless. How is the change in promotion strategy for this box set (YouTube music videos before and BowieTv episodes before and after release) working for you ? Previous sets it was a flood of info per album on DB official before release.
Maybe UK only? Glowing references as you'd expect: polite and easy to talk to. Talks about The speed of the recording process. His part onSpeed of Life was him warming up apparently. Perhaps most revealingly he doesn't come across as someone who's a massive fan of Bowie's music. When asked what track he'd play to remember him by he says Space Oddity is 'quite good' and Heroes 'interesting' strikes me that that may be part of why Bowie got him in. What use to him would a fanboy be? Ricky says 'David got you for what you did rather than what he wanted.' Also Eno coughed his way through the sessions apparently. Funny the things musicians remember.
I don't know about that, but taking pre-orders for your next live album/video juggernaut before ship date on your current mega-box project is just sheer genius. Clearly someone at Parlophone is cutting up little slips of calendar and randomly rearranging them to make a release schedule.
From reading forums over the years, it would seem that most fans would like the vaults opened. Unheard tracks, alternate takes, the unreleased RCA live recordings (the Chicago, Boston and NY Ziggy Shows; MSG74 etc). Granted, you may not want to hear such things.
I think his guitar on Always Crashing In The Same Car is one of the most wonderful pieces of work in the Bowie catalogue, especially the solo, which is sublime.
For decades I thought an old WG RCA logo fat 2cd David Live would still be great, just to complete the series. Parlophone seems too focused on easy cherrypicking the vaults ... already mixed radio & tv shows. Not just to counter bootleggers who discovered the grey market loophole for those, but mostly lazy. I would like Bowie's future record company to bring astounding stuff. Totally unexpected live material because the band and singer were great or in good spirits that night, atmosphere splendid or a magnificent set list. It should all be there, needs a lot of archive knowledge, time and TLC.
There's something to be said for making the previously-easy-to-get easy to get again. (In this case, Glass Spider, and Serious Moonlight.) Keep that stuff off the market and its cost of acquisition just goes up and up (unless you're happy bootlegging rips, and there's nothing wrong with that.) Parlophone are - in principle - only putting things out which have been previously released, and which everyone's had a shot at acquiring (even if you have to be super old to have done so.) Yay for that - in principle. ANCIANT and LTA changed course and made box-bait out of previously unavailable stuff. (Something which makes me think these things aren't exactly selling like hotcakes.) In fact, as far as vinyl goes, 12 of the 15 vinyl pieces in LTA are box-only. Not a vinyl buyer, I still have plenty of good will and bonhomie to spare. Drop NLMD and the live albums in hi-res and I'll be there. (But then, I'm in a really good mood having listened to "Montreal 1983" yesterday.)
The whole of NLMD'18 was free on YouTube, for people without a spare $109 (or, $130, the price Amazon has restored on the CD box). Kind of hard to argue with that.
But if you had been "loyal" all along - "Sound & Vision", Ryko "Young Americans", "Young Americans 2007" - you'd have all or most of the Gouster in hand, no? If, OTOH, all that eluded your time and space on the planet, then getting "suckered" in by the box-bait makes sense. Plus you get a book, so pictures.
sorry you gotta wait til 2022 for the 50th anniversary picture disc edition! unless they come out with peace on earth/little drummer boy 2019 with reeves gabrels soloing over it.
For me it was very simple. I had none of the albums of the second, third and fourth box. When I had the boxes I went after the Ryko cds and Sound and Vision for the missing stuff.
how about this for a tin machine solution. the next box has sound and vision tour, fame 90, black tie, Buddha of suburbia, and then all the tin machine tracks are shoved on a crazy 5 LP Re:call 5.
As for Ricky Gardiner, count me among his fans, especially his guitar work on Low. The story I've heard, but certainly have no evidence, is that RG asked for more money and was immediately "replaced." DB apparently thought, hey I can get any guitarist in the world, who's next, how about … Robert Fripp?
Thanks for your words of wisdom as usual. So this Japanese NLMD not only uses the long versions, but shoves on an extra track. It must be a bit quiet and anaemic, like the old K-Tel/Ronco compilations. Anyway, I have a mint one winging its way to me from Japan as we speak, and it has a cool kitsch poster included. I'm a sucker for inserts etc. Is it going to be better than the new Parlophone loud remaster which omits Too Dizzy? A bit too sharp vs a bit too loud.