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Bowie General > Images Vol. 26

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homebrewPosted at 2025-05-31 14:26:12(4 days ago) (Bowie General / Images Vol. 26)


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These articles appear just as they were posted in the Usenet group alt.fan.david-bowie by group member Jamie Soule aka AladINSAnE. I have made no attempt to alter the formatting, spelling, grammar or edit in any way.

Images Part 26

I may sound a little harsh to a few of you in my assessment of this
situation. That may be so, however, these are not by any means
"isolated" instances, and matters of this nature are not the "exception"
to the rule, but are the rule.  There is no shortage whatsoever of
examples where little, or no consideration at all has been given to what
the fans themselves may have wanted, or have in fact wanted.  It is
quite an eye opening experience for any fan, no matter how long they
have been buying Bowie's work, if they decide to get an accounting of
what recordings are in fact REALLY available, and not just officially
released.  I can safely assure each and every one of you that what you
will uncover will provide you with a fairly hefty shock, and not one of
a very pleasant nature. I still, after over a quarter century of
purchasing Bowie's recordings, quite frequently find material that some
have known about for some time and is a surprise to me. The sheer volume
of recordings that are kept away from Bowie fans is STAGGERING. I am not
referring to recordings which offer little in historical value as many
of these which I have stumbled upon are of highly significant value, and
a few in my opinion are "priceless."

At the risk of appearing not very well educated with regards to the
"unofficial"  catalogue of Bowie's work, I am going to reiterate this
anyway. About two years ago I discovered a recording called Beckenham
Oddity. The reason I feel uneducated is because of the treatment I got
when  I made inquiries about locating it. All I can say is that by the
tone of surprise I encountered from all of those I contacted, it seemed
that I was the only person in the world who was oblivious to its
existence. I am specifically mentioning this recording for two reasons.
One, to illustrate my point, and two, just in case there is another out
there such as myself, who is unfamiliar with this recording, I want to
make you aware of it so you may hunt a copy down if it interests you.
Anyway, I was quite enthralled by the circumstances surrounding this
recording, as well as completely dumbfounded as to how such a recording
managed to elude me all of these years. I still marvel even today at
that question.  This tape was recorded in Bowie's bedroom  at his home
in Clairville Grove, Chelsea, where he had shared a flat with his
girlfriend, Hermione, and John Hutchinson. This tape features some of
the material David and Hutch had been performing as Feathers, and now as
a duo. "David had split from Hermione and Feathers had split too. It is
an actual demo tape which was recorded in the presence of Bob Grace of
Chrysalis Music. The recording was made in February, 1969. The track
listings are  Space Oddity,  Janine,  An Occasional Dream, Conversation
Piece, Ching A Ling, I'm Not Quite, Love Song, When I'm Five and Life Is
A Circus. Taken from a historical perspective this recording is arguably
thought to be the most valuable among collectors, for the simple reason
of the time period it documents. I will vouch for the fact that anyone
who likes this material will me overjoyed with this album. The songs are
all performed on two acoustic guitars and few have Bowie's land lady on
piano. Since it was recorded in his bedroom I do not have to tell you
how laid back the ambiance is. There is a wonderful "feel" to the entire
set, and I think that some of the versions far surpass what was
released, although it is unfair to really compare them to one another.
This should have been released, and a long time ago. All Saints contains
the exact same versions of material that was released ages ago and as a
collectors piece, other than mimicking a compilation cd Bowie gave away
to friends as a Christmas gift, it has no real value. Fans should have
been given Beckenham Oddity over All Saints, or Hours for that matter.
Ooops, I'm in trouble now, aren't I? Again, I mean.

Look at how long it took for fans to get an opportunity to see Ziggy
Stardust The Motion Picture. What is known as the "farewell" or
"retirement" concert was filmed by D.A Pennebaker at the Hammersmith
Odeon Theatre in London on July 3, 1973. Most will concede that the film
and soundtrack are far from perfect, and the overall quality of the
entire package borders on the side closest to mediocre. Still, even
considering the quality, the film is a wonderful testament to the Ziggy
era and I believe that most Bowie fans should have a copy of this film,
I would forget purchasing the soundtrack alone. I am relieved that it
got released but I still harbour a few concerns about it, and these
concerns do not sit very well with me at all. First of all I am rather
curious to know why most fans got shortchanged on the film. If you did
not know that you do now. To be more specific, many of you are not even
aware that you have NEVER SEEN what I consider to be one of the best
parts of the film, and you may never unless you track yourself down a
copy, because the piece I am referring to was CUT OUT of the original
film before you ever saw it. Yep. Are you curious as to what got cut?
Okay, I will tell you. The officially released copies have the, "I
retire and you will never ever see me again, and I mean that, for at
least six months. Not only that, but I promise on my just written
autobiography and my screen play on the life of Goebbels that I won't be
recording any more at all, ever, until next month ," following White
Light-White Heat and ending with  Rock 'n' Roll Suicide. This is not how
the concert went at all,  and the "unofficial" copies of the film  which
were never made available to fans show the concert as it REALLY WAS.
There was truly a great moment in modern music history that took place
immediately following  White Light-White Heat. Bowie announces that
being the last show he wanted to do something nice for the audience, and
says that he has invited a friend along to come and join them on stage.
He then asks the audience to welcome Jeff Beck. I would have no problem
understanding an attitude that displays indifference to quote,
"another," version of Jean Genie, however this one is different. Jeff
Beck alongside Mick Ronson is nothing short of fabulous and the energy
from them playing off one another creates a truly great and rare moment
that should not be lost. In the middle of the song Bowie picks up a
harmonica, starts playing, and they kick into a version of The Beatles,
Love Me Do. The song works its way back into Jean Genie with Ronson and
Beck trading off pieces. The guitar sounds continue to wind up leading
to a thundering climax at the end. After Jean Genie Beck stays on for a
version of Round and Round, and this is followed by the COMPLETE
farewell speech which is missing on the released copy. The show closes
to  Rock 'n' Roll Suicide.

There was a demand for this film from the day it was learned that the
concert was recorded, of which fell on deaf ears. It is a mystery to me
why it took a decade to be released. I guess Bowie doesn't mind US
waiting. There is something about all of this that ties into the 78
documentary shot by David Hemmings and it does not sit right with me at
all. I would be extremely interested if any of you could offer a
possible explanation for this because I can't possibly think of one, and
maybe one of you either see something that I am missing, or you may know
more about the circumstances which surround this. I will say at any rate
I would really welcome any of your ideas about why this is. You may
recall the explanation Bowie gave  for not releasing the 78 documentary
video. It was because he would be required to pay Defries fifty percent
of the profits and that bothered him. In 83 though he releases the Ziggy
movie and since it was made in 1973 he would have to pay Defries fifty
percent of the profits from it as well. What is more mystifying is not
only does the movie get released but the soundtrack as well of which
Defries also gets a percentage. My question is if he did not release the
78 film to prevent Defries from profiting, then why did he turn around
and release not only the Ziggy movie, but the soundtrack as well, of
which Defries would be eligible for fifty percent of the profits?

The list goes on, there is a virtual wealth of extremely interesting and
high quality material out there that Bowie has not made available to
you. To any of you who have Bowie At The Beeb you will be aware of the
older material that appears on there. If you find those recordings
interest you sleep well knowing that there are three other cd's out
there that contain the same thing. When is Bowie going to release it you
ask?  I do not know for sure but I heard all three disks are due for
release in a collectors box set. I believe it is scheduled to be in the
stores sometime just after the release of The Contamination Trilogy, The
double cd of the March 26, 1976 show from the Nassau Coliseum,  the
Ziggy At The Rainbow video and the Sound And Vision tour video shot at
The Tokyo Dome.

It is interesting to note that BEFORE Bowie went mainstream there seemed
to be greater attention placed on what he released, probably aware that
the small following he had outside of the UK would not tolerate being
ignored as far as the music is concerned. Look at it this way. I would
have loved to see him try a Bowie/Diddy in 1974, but he knew better than
to even think about it as it would have meant a rapid departure of his
fan base. If you disagree, well, then you had better think again,
because I seem to recall as mass exodus of his original fans between 84
and 87, with many returning at the release of Outside, and some never
coming back.

This disregard for fans has spread unfortunately, and you can bet it is
going to get one Hell of a lot worse. You mark my words that one day
albums, concert tickets and all other matter of Bowie related items will
be available in one place, and one place only, through Bowie himself. I
find his selling of tickets, the recent BBC studio performances and
Roseland, through Bowienet to be a complete slap in the face to many of
his fans. To do this demonstrates a complete and total lack of
consideration on his part, and it is also highly discriminatory. I find
it disgusting for Bowie to put "worth" on his fans, he has alluded to
this fact by his actions that where he is concerned, SOME FANS ARE
BETTER THAN OTHERS. You may wonder how I reached this conclusion? Well,
just look. If you wanted to see the Roseland shows, or attend the BBC
recording of Bowie At The Beeb, you had to do something first to obtain
the "privilege" of being able to purchase a ticket. You had to first
spend your money to join Bowienet, even if you did not wish to. It cost
you the minimum of around $25.00 for a three month membership to be able
to buy a ticket, as they were sold only to Bowienet members. What is
wrong with this? Plenty. I know that $25.00 may seem to be a small
amount, to you anyway. That however is not the case with everyone. To
students, the unemployed or those who may have jobs which do not allow
for many luxuries that amount of money is a lot, and spending it could
cause some hardship, or it may be impossible to even afford. Remember
that this money is ON TOP of the $60.00 or so price of a Roseland ticket
and could mean the difference between going, or not going. If a scalper
adds $25.00 to a ticket price artists like Bowie scream at how they are
ripping off the public. Well, what is the difference? You pay a
surcharge of close to fifty percent to obtain a ticket here. You are
forced to buy a service you do not want if you wish to go. Sorry, this
is wrong. Why should a Bowie fan miss a concert because they don't join
Bowienet? Are Bowienet members better fans than everyone else?
Apparently. Well, according to Bowie anyway if you look at the billing
for one of the Roseland shows. If you recall one of the performances was
not open to "the general public." Now, hold on here. "General public."
What the fuck does that mean? This is a BOWIE CONCERT, there is no
"general public." I would highly doubt it if the average person would
plan to attend a Bowie concert just for the sake of having something to
do.  I do not know about where you live but I have been to enough Bowie
gigs over the years, and in many places, to say with confidence that
Bowie concerts are attended not by "the general public," but by BOWIE
FANS. What is really obnoxious is the billing went on to read that this
show was reserved for, "REAL BOWIE FANS. THE DIE-HARDS." This meant of
course Bowienet members. So, for those of you who have been buying
Bowie's work faithfully for years and, I know full well just how much
Bowie fans spend, rest assured that you are still not a "REAL" fan, but
a measly member of the "general public." It is because of your status
that you are not welcome at the Roseland gig or to the BBC sessions.
Your value as a real fan is measured by your PAID membership to
Bowienet. If you can't afford to join then tough luck, you are still
"out."

I may be mistaken but Bowie is the only artist that I am aware of who
CHARGES his listeners a fee of close to $100.00 a year to have access to
him. The truth is a Bowie fan is a Bowie fan. Young, old, just started
listening to him, listened to him for years, whether you like this or
like that, seen him live or not, it DOES NOT MATTER, if you listen to
Bowie for the "right" reasons then A FAN IS A FAN. To even imply only
the real fans are Bowienet subscribers is ignorant, and worse yet is the
fact that there are people out there who are willing to believe the
"pitch" and part with their money. Oddly though, if you go and visit
Bowienet and get to learn about the "average" member, you will see in no
time that there is one segment of Bowie's fan base that is noticeably
absent.  His older fans. Ooopps, sorry. My apologies. I forgot. We
aren't fans now, are we.

Although because of my deep respect for authority, and my adherence to
law and order, I do not personally purchase, or posses, any bootleg
material, I can't fault others for buying it. The reason is that there
is such a wealth of worthwhile material to be had that it is difficult
to fault those fans who want it. There is only one chance to see The
Thin White Duke in concert and that is the rehearsal tape that was
bootlegged, other than that there is nothing with sound. Nothing. Most
fans have never seen a 76 concert performance and to "understand" the
white light effect, and why this show was so captivating, and considered
by those lucky enough to see it his best, it is necessary to obtain this
tape. In my opinion Bowie is at fault, not the fans for the vast trading
and buying of this material. If it was RELEASED then there would not be
a "black market" so large. Bowie fans I do not believe are wrong to get
as much as they can, it shows dedication, if anything. Now, to those who
say that these people are STEALING DAVID'S ROYALTIES and are NOT BOWIE
FANS for doing it, then I have some kind advice for you. Look at me, now
turn around, real slow, now FUCK OFF! Do you know how stupid you sound.
I am a Bowie fan and I never want to see Bowie live on stage in 76, 78,
90, 72 or any other year except 83 and 87. I don't want to hear ANY live
concerts except the ones on David Live, The BBC and Stage. I do not want
to hear any other recordings Bowie did with Queen, Marc Bolan, John Cale
or Lulu. I don't want to see The 1980 Floor Show, TV appearances or hear
any radio broadcasts.  I am not interested in getting everything I can
by Bowie, especially some of the unofficial recordings, even though some
are the best I will ever hear.  Just listen to yourself. A Bowie fan? As
I said, "Turn around." Idiot.

End of speech.

AlaDInsaNE

To be continued..........


""I don't begrudge any artist for finding an audience"
- David Bowie abt. 1987
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professormouseDonatedPosted at 2025-06-01 01:39:58(4 days ago) (Bowie General / Images Vol. 26)


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Yes, I want it all,
now
I want it right
now
I want it all (give it to me)
I want it all (give me everything you got)
I want it all

And I want it now!


his entire musical estate should be bought for the nation
and be streamable to everyone
for this
everyone would pay a Bowie Tax

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