Other Sellers on Amazon
|New from||Used from|
MP3 Music, April 16, 2013
Frequently bought together
Customers who bought this item also bought
Remastered Fts : "Cracked Actor","Panic in Detriot", "Time", "Drive-in Saturday"
The second most important moment in Bowie's glam period, Aladdin Sane is full of smart, cutting-edge songs that hold up decades later as classic moments in rock. Standout tracks include "Panic in Detroit," with Mick Ronson's screaming guitars and Mick Woodmansey's urgent drumming; "Watch that Man," a piano-driven, rollicking number perfect for the Bowie strut; the lascivious and sweaty "Cracked Actor"; the punky "Jean Genie"; and a perfectly raucous cover of "Let's Spend the Night Together." "Time" hearkens back to the theatrics of The Rise and Fall of Ziggy Stardust, while "Drive in Saturday," "The Prettiest Star," and "Lady Grinning Soul" serve as precursors to Bowie's "plastic soul" sounds that came later in the '70s. Aladdin Sane is even more impressive when considering that the same year this album was made, Bowie was also working with artists like Iggy Pop and Lou Reed, producing some of their most heralded works (the Stooges' Raw Power and Reed's Transformer). --Lorry Fleming
Top Customer Reviews
Time is one of those songs that when you listen to it at first you're like it's alright. Oh no,no, believe me Time with time it gets embedded into your brain. The Mick Ronson solo right after Bowie starts breathing heavily is so freaking awesome. What a masterpiece. Aladdin Sane is a masterpiece.
The second CD contains some grand surprises, including the studio version of "All The Young Dudes", a concert staple sing-along favorite, and the sax version of, "John, I'm Only Dancing", which is a nice alternative. However. the single edit of "Jean Genie" seems an unnecessary filler. The rest of the songs are all live and this adds another dimension to each one. Lacking the studio enhancements, Bowie performs these with a simple eloquent delivery, causing the listener to appreciate his lyrics and live voice. The sound quality is fairly mediocre considering it has been remastered, but I look at these as more historical than high fidelity recordings. All one really has to do is listen to the classic, "Life On Mars" to appreciate Bowie's lyrics and voice. He is an original every time he steps on stage.
Unfortunately, like the "Ziggy Stardust" 30th Anniversary set, this is also a cardboard booklet, prone to disintegrate over time. It's a shame, as the information and the recordings are classics. Perhaps in the future, Bowie will hard case these Anniversary sets.
Perhaps what you hear when you listen to this disk is the proof that humans are ultimately perfectible, or at least that we are capable of creating art that is so close to perfection that there is no difference in the meaning of the term. Everything about this album is so good and so right for the time period that it was released that it stands as a sort of monument to the zeitgeist of that (sadly drowned) Atlantian era.
The sound is perfect, the songs are unbeatable, the cover art is amazing, and Bowie is . . . well, on this record he is Bowie at his best, and that is about all it takes to understand as a general statement of the quality of this record.
There is beauty here, there is also savage, strange 1970's-style kitschiness, and the best mix of the signature sounds of that time period.
One of the things that has always distinguished Bowie is how he uses his sources, and here he draws primarily on the Stones and Jeff Beck. This is not to say that this album is in any way a pastiche of those other artists, but that Bowie had heard their music, and taken the best of it and included that "best of" in his own work, discarding the weaker parts of their material.
A year after this record was released, the first wave of the punks would be in Greenwich Village denouncing Bowie (and other greats) as a "boring old fart." I understood at the time (and still understand) what the New York Dolls, Ramones, Television, et. al. were on about, but there is nothing "boring" about this record. In fact, I don't know how we could have got to punk if we had not had this record and few others to build upon.
I was a senior in high school when Aladdin Sane first dropped. It completely changed my head. In many ways it still is changing my head.