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David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day". Deluxe CD version features three bonus tracks – "So She", "Plan", and "I'll Take You There".

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day".

Arguably one of the greatest rock and roll albums of all time – and the key flowering of the partnership between David Bowie and Mick Ronson! The guitars here are heavy – so much so that the record's always crossed over big with crowds who are always suspicious of Bowie's artier work of the 70s – and represented a crucial moment when his groundbreaking music also found a large mainstream audience as well. And despite the fact that Ziggy's an androgynous space rocker with a spurious pedigree, the manufactured posturing of the album's come to be taken quite literally over the years – a vivid text of alienation, expression, and redemption – served up beautifully over a host of classic tracks that include "Five Years", "Soul Love", "Moonage Daydream", "Suffragette City", and "Ziggy Stardust" – all further proof of Bowie's 70s ability to slide in wherever he wanted with ease!

Some of the greatest albums in rock and roll are those that were never released – including some that finally saw the light of day after decades, like the Beach Boys' Smile! This book really gets at that fact beautifully – showing how, although never issued, some of these key creative projects really represent the ongoing struggle of rock music in the music business – the push and pull between different forces, and the resulting crash when musical moments never come to be! Each chapter tells the tale of a different album that didn't make it – David Bowie's Toy, Seal's Wonderland, and other projects by The Beastie Boys, Beck, Chicago, Ray Davies, Adam Ant, The Jungle Brothers, and others – almost a musical version of the comic book What If? There's also a final chapter on other almost-rans, including a few that might just make it – and the book has a nice breezy style that's nicely journalistic at times. 319 pages, softcover.

Some of the earliest material ever recorded by David Bowie – served up in a relatively mod style, with great Brit production from the legendary Shel Talmy! Bowie's working here as David Jones – with either The Manish Boys or Lower Third groups – often with a bit more soul in the mix than some of his later work, showing the changing sound of London in this crucial year. Jimmy Page plays guitar on two tracks – "I Pity The Fool" and "Take My Tip" – and the EP also features the tracks "You've Got A Habit Of Leaving" and "Baby Loves That Way".

An amazing departure for David Bowie – hardly the kind of record you would expect from his oboe-filled tunes of a few years before – and really the start of the groundbreaking, earthshaking, reinventionist era of his genius! There's a spacious, soaring quality to Space Oddity that's every bit the kind of magical music you might hope for in a set recorded at the close of the 60s – a shift into new modes, new sounds that seem to suck up all the best influences in rock from the previous few years, but fuse it into a new cosmic vision for the next decade. And while others might stumble on cliche with the weight of such a task, Bowie pulls it off brilliantly – mixing his fuzzier feelings with some of his more personal leanings – and showcasing a newly deep sense of songwriting here that's really amazing. Some tunes have the sensitivity of work on Hunky Dory, while others burn with the fire of Man Who Sold The World – all in a balance that never sounds schizophrenic at all. Titles include"Space Oddity", "Memory Of A Free Festival", "God Knows I'm Good", "Cygnet Committee", and "Unwashed & Somewhat Slightly Dazed".

A nice 7-inch for the initial single from Bowie's 2013 resurgence – his first new music in years! "The Stars (Are Out Tonight)" is the lead track on The Next Day record. The fellow Next Day album track "Where Are We Now?" is on the flipside.

A brilliant soul album! That's right, we said SOUL album! Bowie was at the height of his Ziggy Stardust fame when this one was recorded – a drastic left-turn in styles, forged during a point in his American tour when he could take a break, head to Philly, plug in at the Sigma Sound Studios, and come up with some fantastic little soul tunes, thanks to help from Luther Vandross! The album sparkles with the best sound of Luther's early work – and you'll hear more than a bit of Luther's work on his own, and his tunes with Gregg Diamond on the set. Features the sublime tracks "Win", "Fascination", "Right", "Somebody Up There Likes Me", and "Can You Hear Me" – as well as the hits "Young Americans" and "Fame".

Arguably one of the greatest rock and roll albums of all time – and the key flowering of the partnership between David Bowie and Mick Ronson! The guitars here are heavy – so much so that the record's always crossed over big with crowds who are always suspicious of Bowie's artier work of the 70s – and represented a crucial moment when his groundbreaking music also found a large mainstream audience as well. And despite the fact that Ziggy's an androgynous space rocker with a spurious pedigree, the manufactured posturing of the album's come to be taken quite literally over the years – a vivid text of alienation, expression, and redemption – served up beautifully over a host of classic tracks that include "Five Years", "Soul Love", "Moonage Daydream", "Suffragette City", and "Ziggy Stardust" – all further proof of Bowie's 70s ability to slide in wherever he wanted with ease!

One of the wildest records of the early 70s – and it's still pretty darn hard to argue with the power of this one – even if the meddling of the producers is nearly as legendary as the album itself! There's still such a manic energy to the original release mix – one that clearly inspired, if not altogether gave birth to the punk scene – and makes the album one of those quintessential examples of great art being made under compromising circumstances. Fierceness personified! Includes classics like "Search & Destroy", "Death Trip", "Gimme Danger", "Your Pretty Face Is Going To Hell (aka Hard To Beat)", "Raw Power", "Shake Appeal", and "Death Trip". We're in that rare camp that finds both Bowie's original mix AND Iggy's noisy-as-hell, paint-peeler of a mix from the late 90s entirely essential – and the latter appears here on vinyl for the first time! This completely incredible 2012 vinyl edition includes both mixes in a 2LP set with 16 page booklet.

David Bowie back in costume at the end of the 70s – but informed enough from his Berlin trilogy that he's coming at things quite differently here! The album's a great summation of the sounds on Low, Heroes, and Lodger – taken almost back to some Ziggy Stardust and Space Oddity territory, but in ways that are a bit leaner, and more focused. Even more impressive, though, is the near-complete absence of other 1980 elements in the set – hardly any influences from punk or new wave, no post-disco dancefloor elements – just deeply unique Bowie all the way through, and proof that he could always find his own space in music when he wanted! Titles include "Up The Hill Backwards", "Teenage Wildlife", "Scream Like A Baby", "Because You're Young", "Scary Monsters", "Ashes to Ashes", "Fashion", and "Kingdom Come".

Lots of classics – but some great rarities too, from a time when Ryko was putting some great bonus tracks on Bowie CDs!

The brilliant full exposure of the voice that was always buried in the larger sounds of Pink Floyd – a definite madcap romp from the amazing Syd Barrett – and a record that still sounds as captivatingly chilling all these many decades later! There's a stripping-down here that's really tremendous – no need for all the overblown, long-winded excursions of other forces in the psych generation – as Syd takes the whole thing down to its core, and carries it off with a charm that's almost folksy – yet which, like David Bowie at about this point in his career, manages to manipulate and dismiss the folk generation as much as it does the psych one too! David Gilmour and Roger Waters are on hand to help a bit with production – and titles include "Octopus", "Golden Hair", "Long Gone", "She Took A Long Cool Look", "Late Night", "If It's In You", "Love You", and "Terrapin". CD features 6 more bonus tracks – alternate takes of songs on the album!

A late 70s dancefloor soul set from Mascara – an album and group that's notable for a number of reasons – most importantly for being a pre-solo star showcase for the great Luther Vandross! Mascara is an interesting international joint effort – with instrumental tracks recorded in Munich and the vocals in Englewood, NJ – co-produced by UK DJ Chris Hill. Luther is one of 3 lead singers along with Ula Hedwig and David Lasley. It's got an all purpose dancefloor groove to it that's hard to resist – and the singing by all three is really strong! Luther was on the verge of a massive breakthrough at this point, which was between his legendarily crucial work with Young Americans-era Bowie and the start of his great solo career. Speaking of Young Americans, Mascara's take on "Golden Years" is early in this set, which also includes the medleys "See You In LA" and "Jet Plane Ride", plus "If You Don't Want To Be In My Life", "I Feel So At Home Here" and "Comin' Home Baby". This first ever CD release includes 3 bonus tracks: "See You In LA (Radio Version)", "Jet Plane Ride (Radio Version)" and "It's Cool (Radio Version)".

Tremendous work from Biff Rose – a near-lost singer-songwriter from the late 60s, barely remembered as the author of "Fill Your Heart" from David Bowie's Hunky Dory album – but an incredible talent that we'd rank right up there with Van Dyke Parks or early Randy Newman for sheer American brilliance! As in the work of Parks, there's a quality here that's completely unique – informed by the freedoms of the folk generation, but tuned with older-styled arrangements that while full, still manage to convey a sense of person and presence – as in some of the best early recordings of Leonard Cohen. And like Cohen, Rose has a really poetically-styled approach to his lyrics – far beyond the sardonic eye of folkies, or the indulgence of hippies – and infused with a sense of hope that crackles out of the tunes along with his own crackly vocals. Vocally, we'd almost link Rose to Bob Dorough for a sheer "oh what the hell I'm just gonna sing this" approach – and like Dorough, there's no silliness at all – but real sincerity where we'd never expect it, in a way that leaves us breathless. Children Of Light features spare arrangements and a bit of moog from Van Dyke Parks and Nick Woods! Tracks include "Ain't No Great Day", "Just Like A Man", "American Waltz", "Son In Moon", "Color Blind Blues", "Children Of Light", and "To Baby".

Tremendous work from Biff Rose – a near-lost singer-songwriter from the late 60s, barely remembered as the author of "Fill Your Heart" from David Bowie's Hunky Dory album – but an incredible talent that we'd rank right up there with Van Dyke Parks or early Randy Newman for sheer American brilliance! As in the work of Parks, there's a quality here that's completely unique – informed by the freedoms of the folk generation, but tuned with older-styled arrangements that while full, still manage to convey a sense of person and presence – as in some of the best early recordings of Leonard Cohen. And like Cohen, Rose has a really poetically-styled approach to his lyrics – far beyond the sardonic eye of folkies, or the indulgence of hippies – and infused with a sense of hope that crackles out of the tunes along with his own crackly vocals. Vocally, we'd almost link Rose to Bob Dorough for a sheer "oh what the hell I'm just gonna sing this" approach – and like Dorough, there's no silliness at all – but real sincerity where we'd never expect it, in a way that leaves us breathless. The set features arrangements by Rose, Arthur Wright, Kirby Johnson, and Nick Woods – on titles that include "Mama's Boy", "Angel Tension", "Molly", "The Stars", "It's Happening", "Buzz The Fuzz", and "The Man".

Iggy's second solo LP proper, and a strange morass of junkie desperation and gutteral white punk funk – a conscious decision to move away from the guitar roar of the Stooges era and closer to the sounds his longtime champion David Bowie was experimenting with at the time, with a little bit of Lou Reed for good measure – but make no mistakes, this is Iggy's show. It's as fascinating as it is impressive on a more visceral level, heavy bass rhythms and keys intergral to the sound, and weary latenight storytelling that trips you out on contact. All tunes co-written by Bowie, who would go on to make a lot of money off "China Girl" a few years into the 80s when the world was more ready for it, plus the classic "Nightclubbing", "Sister Midnight", "Baby", "Dum, Dum Boys", "Tiny Girls" and "Mass Production".

A lost glam classic from 70s New Zealand – recorded in a style that's very much in the best spirit of the Velvet Tinmine generation! Alastair Riddell may not be a household name on this side of the globe, but during his run as a popster in New Zealand, he had a local power that was equal to David Bowie in England – no surprise, given the Bowie-esque sound of much of the work on this set. But there's also a darkness here that goes deeper than Bowie, especially in Alastair's choice of themes, which are often augmented by some especially sharp guitar work. Titles include "Open Up", "Scars Of Love", "Fraulein Love", "Seabird", "Out On The Street", and "Love The Way He Smiles".

The issue's got a full 10 page feature on The Next Day – David Bowie's long-awaited album – and also features a bonus CD of other compelling contemporary music as well – with work from Billy Bragg, Edwyn Collins, Hiss Golden Messenger, Jim James, Low, and others! Plenty more great articles and features – as the issue includes bits on Kraftwerk, My Bloody Valentine, Wilko Johnson, Stephen Stills, Fela Kuti, The Yardbirds, and others – as well as 39 pages of reviews!

Loads of great features here – including an excellent look at the early Pink Floyd – plus Gram Parsons' lost movie, the return of David Bowie, the Will Oldham/Dawn McCarthy Everly Brothers album, an interview with Alicia Keys, and article on Adam Ant! As usual, there's plenty more between the pages – loads of great reviews, special stuff, news, ads, and even a bonus CD – with a range of contemporary groups influenced by the early psych of Pink Floyd!

Vintage album covers from the 70s – all hand-picked by Aubrey Powell of Hipgnosis – a company responsible for some of their own classic images back in the day! Powell does a great job with the package – and manages to go way beyond just Hipgnosis covers, to include a really wide-spanning set of images that really sums of the depth of 70s music! You'll find covers here from artists that really run the gamut – Sex Pistols, Rolling Stones, Kate Bush, The Damned, Be Bop Deluxe, Boz Scaggs, The Cramps, Joe Jackson, The Slits, Pop Group, Peter Gabriel, David Bowie, and dozens of others – all laid out in a full-color book that's about 10" square – which makes for a great read as you're flipping through the pictures. The book is divided into years – showing a great evolution of style during the decade, matched with key news moments from each period too. 191 pages, full color, and nice and heavy!

Jazzanova did such a great job on Blue Note Trip Vol 4, the label decided to have them back for one more journey – and this time around, they've expanded the range of their groove even more than before! In addition to the classic jazz from Blue Note that Jazzanova spun the last time, this collection also features a fair bit of soul, funk, and more – including some unusual bits from left field, all woven into a wonderful tapestry of music! A few of the tracks are even of recent origin, but they sit very nicely next to the older numbers – all stepping around in a spacious approach to the groove that shows that even when they're not making their own music, Jazzanova have ears to help expand other folks' tunes as well! Titles include "Warning (part 1)" by David Axelrod, "Three Is The Magic Number" by Bob Dorough, "Trying Hard To Look Inside" by The Waters, "Dedicated" by Digable Planets, "It's Just The Way I Feel" by Gene Dunlap, "Dindi" by Janet Lawson, "State Of Mind" by Raul Midon, "Chant" by Robert Glasper, "Sanfona" by Egberto Gismonti, "Hey Hey" by Andrew Hill, "Save The Children" by Marlena Shaw, "Open The Door" by Betty Carter, "Hurt So Bad" by Grant Green, "Montara (Madlib rmx)" by Bobby Hutcherson, "This Is Not America (interlude)" by David Bowie & Pat Metheny, "Secret Rendezvous" by Rene & Angela, "Mt Airy Groove" by Pieces Of A Dream, "Light Of The Universe" by Sun, and "I Love You" by Taste Of Honey.