Pin Ups [ECD] [ENHANCED] [ORIGINAL RECORDING REISSUED]

David Bowie

Product Details

• Audio CD (September 28, 1999)
• Original Release Date: 1973
• Number of Discs: 1
• Format: Enhanced, Original recording reissued
• Label: Virgin Records Us
• ASIN: B00001OH7R
• Also Available in: Vinyl  |  MP3 Download
• Average Customer Review: 4.1 out of 5 stars  See all reviews (34 customer reviews)
• Amazon.com Sales Rank: #34,868 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

15 of 15 people found the following review helpful:

5.0 out of 5 stars Bowie Does The Covertune Album That Time Forgot, December 13, 2005

By	Mr. Sinister (El Cajon, CA USA) - See all my reviews

In 1973 David Bowie came out with an album of Covers called Pin Ups. The cover had himself and the model Twiggy dressed like Fembots from an episode of The Bionic Woman or some post Logan's Run version of clones. Anyway... most people don't remember this Bowie outing, sandwiched in between Aladin Sane and Diamond Dogs. Mostly tunes by The Who, Pretty Things and Syd's Pink Floyd, there are some cool stuff here. Rosalyn, I Can't Explain, Where Have All The Good Times Gone, Shapes Of Things & Anyway, Anyhow, Anywhere. Overall a very enjoyable listen. The original Ryko re-issue had two extra tracks: Springsteen's Growin' Up & Port Of Amsterdam. Definitely worth it to find that edition.

Dig it!

11 of 11 people found the following review helpful:

5.0 out of 5 stars Wonderful, October 6, 2004

By	Michael Smith "saintzak" (usa) - See all my reviews (REAL NAME)

If the opening one-two punch of Rosalyn/Here Comes the Night doesn't catch you, nothing will. Bowie seemless re-invents these mid 60's swinging London songs and turns this into a true Ziggy Stardust album. At the same time he shows true respect for the songs. Listening to this disc makes you realize what a great band the Spiders were...and one of his coolest covers, too.

11 of 11 people found the following review helpful:

5.0 out of 5 stars Don't Miss the Point..., May 15, 2003

By	Shawn Viland "Music, White Sox and the Bible.... (Aurora, IL United States) - See all my reviews (REAL NAME)

The reviews I read here call this an album of covers, which it is. But to call it that, merely that, misses the point.
Bowie has always been one to do something different, even if it is exactly the opposite of what was expected of him - something U2 has borrowed from. This album is indeed a tribute to the music that influenced Bowie during the British Invasion during the 60's, as the original LP liner notes explained. You hear The Who, The Kinks, Pink Floyd, Them... But no Beatles or Dave Clark 5. Bowie makes a very personal statement hear, not only by defying expectations of his audience as perhaps the most original songwriter of his generation, but by taking his favorite songs by the bands that influenced him and putting his stamp on them with the then-Bowie style that those bands had influenced.
When I was 16 in 1983 I would travel to Crow's Nest Records in Crest Hill, IL (long before "Crow's Nest Digital") to search their massive supply of records and other fandom paraphernalia, particularly the many U2 imports. You could get anything there - from Boomtown Rats to Soft Cell to Hüsker Dü. A staff member there noticed my selections and asked if I like Punk. "Yes." "Do you own 'Pinups'?" "What's that?" (Fearing that he was talking about some kind of bad magazine.)
He explained that Bowie's Pinups was the first Punk record, because it bridged the gap between the 60's bands like The Who and The Kinks and the Punk bands that they influenced, from Iggy to Bowie to Talking Heads to the Pistols. I don't know if I agree that it was definitely the first Punk album, anymore than I agree that Elvis' "That's Alright" was the first Rock 'n' Roll Record, but like "That's Alright", Pinups was a monumental record in my musicology. It turned me on to Bowie and then to each of the bands that Bowie saluted with Pinups, and a whole new world opened up to me beyond the Beatles and a connection was made that before bands like the Ramones and before Bowie was singing "Let's Dance" there was a music with an intense authenticity, fertile with sound that would inevitably plant itself in the hearts of musicians for generations.
Most point to Ziggy or Aladdin Sane. But this and The Man Who Sold The World have always been my favorite Bowie records. Ziggy, Sane and Diamond Dogs are right there as well, and now, with Outside and Heathen, Bowie rocks again.
Another note: This concept certainly influenced the Annie Lennox album, Medusa.