Standout tracks include ‘Can’t Help Thinking About Me’ first released in 1966 and not performed live in over 30 years, 'Word On A Wing' from Station To Station reinstated into the set after a 23-year absence, 'Drive-In Saturday' performed for the first time since 1974, and ‘hours…’ track 'Something In The Air’ in its first live performance. For this special limited run of gigs, Bowie dug deep into his back catalogue making these shows particularly memorable.
Bowie something in the air full#
The Elysée Montmartre performance was one of only seven full shows promoting the ‘hours…’ album.
The day of the show was a momentous one for Bowie, as that afternoon he was awarded the Commandeurs of the Ordre des Arts et des Lettres, the highest artistic honour that France can bestow. The fifth in the series, out 12th March on CD and double vinyl, is SOMETHING IN THE AIR (LIVE PARIS 99) a 15-track live album, featuring 12 previously unreleased recordings and three B-sides of singles from the ‘hours…’ album.
The albums and limited edition boxes for both vinyl and CD to house the full collection will be available only via the David Bowie official store and Warner Music Group’s Dig! store.
Bowie something in the air series#
Instead, we see him in freeze-frame on a TV in the window of a rundown electronics store, just for a few seconds near the very end, a little fuzzy: Not a person, but an image fixed on the screen.London Parlophone Records announce the newest instalment of DAVID BOWIE ' BRILLIANT LIVE ADVENTURES', a series of six live albums from various 1990s era Bowie performances being released on vinyl and CD as limited one run only pressings. Bowie doesn’t appear in the clip, at least not live. His final video, for the song “No Plan,” was released posthumously on what would have been his 70th birthday.
His final two albums, 2013’s The Next Day and 2016’s Blackstar (released two days before his death), were among the grandest-and starkest-of his career. As prominent and productive as he was, he became more enigmatic as his career went on, a noble stoic at the outer reaches of pop music. He took a minute to find his creative footing (“The Laughing Gnome”-brace yourself), but by his early twenties he’d become a major force in English pop, exploring themes of alienation (“Space Oddity”), identity (“Changes”), and futurism (“Life On Mars?”) while developing a performance style steeped in everything from mime to kabuki and avant-garde theater-a sense of visual identity that would last him the rest of his career.įor three decades, Bowie rarely took more than a year between albums, exploring chilly, electronic art-rock ( Low and the so-called Berlin Trilogy), pop (the early MTV hits Let’s Dance and Tonight), the noisy U-turn of the Tin Machine era, and the quasi-industrial sound of such ’90s albums as Outside and Earthling. Gender fluidity, the hybridization of rock and electronic music, the transformative power of the internet: Bowie was never there first per se, but he was always there early, a transformative figure who managed to bring challenging ideas into mainstream culture in a way that felt stylish, digestible, exciting, and most of all possible.īorn David Jones in 1947, Bowie was raised in the suburbs of London, converting to the gospel of rock ’n’ roll after hearing Little Richard. For all the times he changed his getup-the glam alien of Ziggy, the moody existentialist of the late ’70s, the pop sophisticate of the ’80s, and so on-he was, in his way, remarkably consistent, a barometer of where the culture was and a glimpse of where it was going. Back at the height of the Ziggy Stardust era, David Bowie told an interviewer that he’d always felt like a vehicle for something else, even if he could never quite figure out what that something else was.
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