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David Bowie Legacy'
Nothing Has Changed
Collects Together For The First Time The Definitive Collection Of Bowie's Music From 1964 To 2014
NOTHING HAS CHANGED released by Columbia Records/Legacy Recordings collects together for the first time the definitive collection of Bowie's music from 1964 to 2014.
Fifty years on from his first recordings, David Bowie continues to be at the vanguard of contemporary culture as a musician, artist, icon and a nonpareil to generations of writers, artists and fashionistas. He remains to be a unique presence in contemporary culture.
NOTHING HAS CHANGED (named after a lyric from the 'Heathen' album opener 'Sunday') compiles tracks from every period of Bowie's career from his earliest incarnations with 'Liza Jane' and 'Can't Help Thinking About Me' right up to James Murphy's 'Hello Steve Reich Mix' of 'Love Is Lost' from last year.
The album features Bowie's first new music since he stunned the world with the critically lauded 'THE NEXT DAY'. The new single 'SUE (or IN A SEASON OF CRIME)' was especially recorded for NOTHING HAS CHANGED with long time collaborator Tony Visconti.
Alongside the brand new track NOTHING HAS CHANGED features the previously unreleased 'Let Me Sleep Beside You' from the 'TOY' sessions, the download only 'Your Turn To Drive' making its debut on CD and the stunning 2001 re-recording of the 1971 outtake 'Shadow Man'.LP 1
1. Let's Dance (single version)
2. Ashes To Ashes (single version)
3. 'Heroes'' (single version)
5. Life On Mars?
6. Space Oddity
7. Starman (original single mix)
8. Ziggy Stardust
9. The Jean Genie (original single mix)
10. Rebel Rebel
1. Golden Years (single version)
3. Sound And Vision
4. Under Pressure (Queen & David Bowie)
5. Sue (or In A Season Of Crime)
6. Hallo Spaceboy (Pet Shop Boys remix) - with The Pet Shop Boys
7. China Girl (single version)
8. Modern Love (single version)
9. Absolute Beginners (single version)
10. Where Are We Now?$37.99Vinyl LP - 2 LPs Sealed Buy Now
TransformerTransformer is the second solo studio album by American recording artist Lou Reed. Produced by David Bowie and Mick Ronson, the album was originally released in November 1972 by RCA Records.1. Vicious
2. Andy's Chest
3. Perfect Day
4. Hangin' 'Round
5. Walk On the Wild Side
6. Make Up
7. Satellite of Love
8. Wagon Wheel
9. New York Telephone Conversation
10. I'm So Free
11. Goodnight Ladies$19.99150 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Raw PowerRanked 125/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
If theres ever been an album that lives up to its title, this is it, Iggy and the Stooges apocalyptic, high-octane 1973 release, Raw Power with its unforgettable Mick Rock photography on the front and back! The Iggy Pop produced/David Bowie mixed album literally provided the blueprint for the mid-'70s punk-rock explosion with such proto-punk frontal assaults as Search and Destroy, Shake Appeal, Your Pretty Face Is Going to Hell and the title track.
Although this incarnation of the Stooges (James Williamson/guitar, Ron Asheton/bass, Scott Asheton/drums) imploded not long after its release, Raw Power became the album that launched a million punk rock bands all around the world, leaving its mark on scenes from London to L.A. to Sydney. As iconic and influential a record as they come, this is primal rock n roll at its absolute best!
Raw Power was the confluence of the Stooges' ages, hormones, creativity, ability, experience, tastes, lack of supervision, contempt for authority and ambition to achieve our rock dreams however unrealistic they might be. The songs from Raw Power were written from deep within our souls and were played with a meaningfulness and authenticity which is rarely captured on record. - James Williamson1. Search And Destroy
2. Gimme Danger
3. Your Pretty Face Is Going To Hell
5. Raw Power
6. I Need Somebody
7. Shake Appeal
8. Death Trip$29.99Vinyl LP - 2 LPs Sealed Buy Now
VisualsMew frontman Jonas Bjerre has worked on the projections for the band's live shows since their early days. Usually, the Danish trio finish an album and Bjerre gets to work on the visuals. For their seventh record, though, the singer decided to turn things upside down, working on the visuals first and seeing if they informed the music. The resultant record feels like a culmination for one of rock's most ambitious and inventive groups: Visuals is where Bjerre and his bandmates, bassist Johan Wohlert and drummer Silas Utke Graae Jørgensen, join the dots of a career that has spanned over two decades. "We do everything on this album ourselves," says Bjerre. "We produced it ourselves, I did the artwork, I'm doing the visuals. Visuals felt like a fitting title. I like the idea that each song has a visual aspect to it somehow."
Mew have a tradition of, as Bjerre puts it, hiding away in a cave for three or four years between albums. The tour that accompanied 2015's +- album found the band reaching a creative peak that they felt was too exhilarating to be dampened by a period of extended cave-dwelling. They arrived home with demos that had been written on the road and the spark was lit. They wanted to break the cycle and make an album quickly. "We just felt like, "if we do it the normal way, it's gonna be another three or four years before we get to do it again'," says Bjerre. "If you keep doing it like that, ultimately you make a handful of albums and then you're ready for retirement." The trio wanted to make an album spontaneously, keeping the energy they'd generated on the road going.
They set to work in Copenhagen and started knocking the demos they'd written on tourbuses and in hotel rooms into shape. At the same time, new songs were emerging in reaction to what was going on around them. Mew aren't a political band but couldn't help but be affected by rolling news and the death of an icon. "It was pretty dark last year, so some of the darkness in the lyrics comes from that. You definitely get the feeling that things don't last forever when someone like David Bowie dies." Visuals was completed in just under a year - what Bjerre describes as an "incredible" feat for a band used to periods of prolonged tinkering. "Spending less time on it, you can still maintain the feeling you had when you first wrote it," says Bjerre.
Bjerre doesn't know where Mew songs come from. He finds it hard to pin down his lyrics, his melodies, himself. It's what makes his band so special, that thrill that songs could go anywhere, that understated verses could suddenly rocket skyward, anthemic choruses could implode into beautiful soundscapes or sophisticated grooves could be crushed like a tincan. "I don't consciously know why the songs come out the way they do," says Bjerre. "It's a lot of trial and error for us. Even though a song is on an album, it keeps growing because we get to go out and perform it for an audience. I like the thought it can keep growing. It's never really finished."
Visuals is Mew at their most compact, their chemistry at its most potent. With only one song over five minutes, it's their most concise album. Bjerre says there was no need for a grand, overarching concept. Each song on Visuals represents its own little chapter and story: nothing needed to be overly long. "Each album is like a collection of thoughts and ideas that fit the time we're in," he says. "They're like little diary entries, except they're a little bit more veiled perhaps. To me, albums are memories of times in my life."
The song that led the way was the slow-building euphoria of Nothingness And No Regrets. Bjerre says that Mew lyrics often have two or three different meanings, and the opener is a reflection on life and death at the same time as "imagining this team of people trying to accomplish something and ultimately failing." The expansive 80s-style pop of The Wake Of Your Life is about legacy and what's left after you've gone. "These are things you think about more and more the older you get." It started out as a synth-pop track with lots of programming before taking on a different shape when the band added guitars over the top. "We try to change the method of how we reach the destination all the time cos if you do things the same way all the time, the results will often be very similar," says Bjerre.
The discordant stomp of Candy Pieces All Smeared Out came about after Bjerre went back over some demos he'd made as a youngster on an Omega 500. "Some of them were interesting sonically so I kept some of the programming. We built the song on top of this really weird 8-bit computer track." The song sums up the emotional to and fro and ca
ptivating contrariness at the heart of Visuals: it's an album that's both nostalgic and contemporary, that looks back whilst marching forward.
The blissful glide of In A Better Place is a prime example of the impulsive environment that the songs were written in, a drumbeat by Jorgensen inspiring Bjerre to write a song immediately, whilst the atmospheric rock of Ay Ay Ay was based around a choir part that Bjerre had come up with a few years ago. All of the vocal parts were recorded in the booth that Bjerre had constructed in his apartment in Copenhagen. "I like waking up in the middle of the night and feeling inspired by something and being able to go in my booth and just sing it," he says.
Bjerre says that the celebratory groove of Learn Our Crystals "is one of our weirdest songs." Poppy and fantastical, it had a familiar feeling to the singer as soon as he wrote it. The soulful sway of Shoulders has an R'n'B feel to it, whilst Bjerre had earmarked the mesmerising intricacy Carry Me To Safety as the album's closer as soon as it'd been written. "I just like how it twists and turns," he says. "It's a reflection on life and being in a band, what it means to be in a band, dedicating so many years of your life to this thing."
Twenty years into their career, Mew have the irrepressible ebullience of a band on their debut album. Visuals feels like the beginning of a new chapter. "Mew is what I always come back to, it's a companion to my life. It's always been there, as long as I can remember. It's a big part of the footprint that we'll leave behind," says Bjerre. Mew march on: this is the sound of a band seizing the moment.1. Nothingness and No Regrets
2. The Wake of Your Life
3. Candy Pieces All Smeared Out
4. In a Better Place
5. Ay Ay Ay
6. Learn Our Crystals
7. Twist Quest
11. Carry Me to Safety$23.99Vinyl LP - Sealed Buy Now
Legacy (Out Of Stock)BOWIE - LEGACY collects together a selection of Bowie's most popular tracks and singles, from 1969's Space Oddity, through to the final singles 'Lazarus' and 'I Can't Give Everything Away,' issued earlier this year.
BOWIE - LEGACY features a previously unreleased version of the classic 1971 Hunky Dory track, Life On Mars?, remixed by its original producer Ken Scott.
From his very first recordings over fifty years ago, right through to his last album Blackstar, David Bowie was at the vanguard of contemporary culture as a musician, artist, icon and a constant influence on generations of writers, artists and designers. He was, and remains, a unique presence in contemporary culture.
Bowie left a legacy of inspiration in every discipline from art and fashion to acting and beyond. But, it is for his ground-breaking music that he will be best remembered.
BOWIE - LEGACY is an introduction to a world of incredible music, just waiting to be enjoyed by a whole new generation.LP 1
1. Let's Dance (Single Version Remastered)
2. Ashes to Ashes (Single Version Remastered)
3. Under Pressure
4. Life On Mars? (2016 Mix)
6. The Man Who Sold the World (Remastered)
7. Space Oddity (Remastered)
8. Starman (Original Single Mix)
9. Ziggy Stardust (Remastered)
10. The Jean Genie (Original Single Mix Remastered)
1. Rebel Rebel (Remastered)
2. Young Americans (Original Single Edit)
3. Golden Years (Single Version Remastered)
4. Modern Love (Single Version Remastered)
5. China Girl (Single Version Remastered)
6. Fame (Remastered)
7. Sound and Vision (Remastered)
8. Heroes (Single Version Remastered)
9. Where Are We Now? (Album Version)
10. Lazarus (Radio Edit)$37.99Vinyl LP - 2 LPs Sealed Temporarily out of stock