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David Bowie: Pinups

 A l b u m   D e t a i l s

Artist: David Bowie
Title: Pinups
Released: 1973
Label: EMI Records
Time: 40:30
Producer(s): Ken Scott, David Bowie
Appears with: Tin Machine
Category: Pop / Rock
Rating: *******... (7/10)
Media type: CD
Purchase date:  2002.10.21
Price in €: 6,99
Web address: www.davidbowie.com

 S o n g s ,   T r a c k s


[1] Rosalyn (Ducan/Farley) - 2:21
[2] Here Comes the Night (Berns) - 3:09
[3] I Wish You Would (Arnold) - 2:49
[4] See Emily Play (Barett) - 4:11
[5] Everything's Alright (Crouch/Konrad/Stavely/James/Karlson) - 2:28
[6] I Can't Explain (Townshend) - 2:11
[7] Friday on My Mind (Young/Vanda) - 2:56
[8] Sorrow (Feldman/Goldstein/Gottehrer) - 2:53
[9] Don't Bring Me Down (Dee) - 2:06
[10] Shapes of Things (Samwell-Smith/McCarthy/Relf) - 2:53
[11] Anyway, Anyhow, Anywhere (Daltrey/Townshend) - 3:07
[12] Where Have All the Good Times Gone? (Davies) - 2:41

 A r t i s t s ,   P e r s o n n e l


DAVID BOWIE - Vocals, Guitar, Harmonica, Arranger, Keyboards, Alto & Tenor Saxophone, Moog Synthesizer

MICK RONSON - Guitar, Piano, Arranger, Vocals
TREVOR BOLDER - Bass
AYNSLEY DUNBAR - Drums
MIKE GARSON - Organ, Piano, Harp, Keyboards, Electric Piano
KEN FORDHAM - Baritone Saxophone
MAC CORMACK - Vocals
G.A. MACCORMACK - Background Vocals
RON WOOD - Guitar

JONATHAN WYNER - Mastering Assistant
Dr. TOBY MOUNTAIN - Digital Mastering
NIGEL REEVE - Digital Remastering
PETER MEW - Digital Remastering
MICK ROCK - Design, Photography
SUKITA - Photography
JUSTIN DEVILLENEUVE - Design
KEVIN CANN - Design
PIERRE LAROCHE - Make Up  

 C o m m e n t s ,   N o t e s


1973 LP Rykodisc RALP-2-10136
1973 CS Rykodisc RACS-10136
1973 CD Rykodisc RCD-10136
1973 LP RCA 1003
1990 LP Rykodisc 136
1990 CS Rykodisc 136
1998 CD Capitol 94767
1999 CD Virgin 21903
1999 CD EMI Records 521903

PIN UPS served as a sort of "how to" guide to David Bowie'scareer. This all-covers album shed light on his ability to adopt personas and emulate musical genres with amazing speedand diversity. It also showed that Bowie was anticipating adifferent musical climate for the rest of the decade, signifying a change from what was admired during the 1960s. The psychedelic overtones of Pink Floyd's "See Emily Play" andthe garage rock cynicism of the Easybeats' "Friday On My Mind" perfectly display Bowie's ear for melody and eye for pop-culture posturing. He even tips a hat to his more established influences. The Kinks' "Where Have All The Good Times Gone" sparks his interest as a memory-soaked ballad (a Ray Davies speciality), and with The Who's "Anyway, Anyhow, Anywhere" Bowie admits to not having invented the rock 'n' roll ego. PIN UPS served another suitable purpose for the chameleonic performer, down-playing his other-worldly image by betraying his influences. By presenting Bowie as an actual fan--and not just an image/style manipulator--the album portrayed the singer in a different light, allowing him to loosen up his approach to performing and to step outside the multiple characters he had created for himself.



Pin Ups fits into David Bowie's output roughly where Moondog Matinee (which, strangely enough, appeared the very same month) did into the Band's output, which is to say that it didn't seem to fit in at all. Just as a lot of fans of Levon Helm et al. couldn't figure where a bunch of rock & roll and R&B covers fit alongside their output of original songs, so Bowie's fans -- after enjoying a string of fiercely original LPs going back to 1970's The Man Who Sold the World -- weren't able to make too much out of Pin Ups' new recordings of a brace of '60s British hits. Ziggy Stardust and Aladdin Sane had established Bowie as perhaps the most fiercely original of all England's glam rockers (though Marc Bolan's fans would dispute that to their dying day), so an album of covers didn't make any sense and was especially confusing for American fans -- apart from the Easybeats' "Friday on My Mind" and the Yardbirds' "Shapes of Things," little here was among the biggest hits of their respective artists' careers, and the Who's "I Can't Explain" and "Anyway Anyhow Anywhere" were the only ones whose original versions were easily available or played very often on the radio; everything else was as much a history lesson, for Pink Floyd fans whose knowledge of that band went back no further than Atom Heart Mother, or into Liverpool rock (the Merseys' "Sorrow"), as it was a tour through Bowie's taste in '60s music. The latter was a mixed bag stylistically, opening with the Pretty Things' high-energy Bo Diddley homage "Rosalyn" and segueing directly into a hard, surging rendition of Them's version of Bert Berns' "Here Comes the Night," filled with crunchy guitars; "I Wish You Would" and "Shapes of Things" were both showcases for Bowie's and Mick Ronson's guitars, and "See Emily Play" emphasized the punkish (as opposed to the psychedelic) side of the song. "Sorrow," which benefited from a new saxophone break, was actually a distinct improvement over the original, managing to be edgier and more elegant all at once, and could easily have been a single at the time, and Bowie's slow version of "I Can't Explain" was distinctly different from the Who's original -- in other words, Pin Ups was an artistic statement, of sorts, with some thought behind it, rather than just a quick album of oldies covers to buy some time, as it was often dismissed as being. In the broader context of Bowie's career, Pin Ups was more than an anomaly -- it marked the swan song for the Spiders From Mars and something of an interlude between the first and second phases of his international career; the next, beginning with Diamond Dogs, would be a break from his glam rock phase, going off in new directions. It's not a bad bridge between the two, and it has endured across the decades -- and the CD remasterings since the late '90s have made it worth discovering all over again.

Bruce Eder, All-Music Guide



Perhaps the covers album Pin-Ups was conceived as a breather, a way for Bowie and the Spiders from Mars to regroup admist the hysteria of the Ziggy Stardust mania, or perhaps it was meant as a genuine tribute to Bowie's influences. Either way, Pin-Ups was the first sign that the Ziggy persona was running out of energy. The album isn't bad — in fact, it's an energetic, infectious collection of relatively obscure British rock & roll, R&B and mod anthems — but the timing of a covers album was odd, suggesting that Bowie was running out of ideas. On its own, Pin-Ups is quite enjoyable, especially since the selections are fairly arcane. Bowie relies primarily on songs that never were hits outside America — even the Kinks, the Who, Yardbirds and Pink Floyd songs were relatively obscure — which makes the record fascinating. Bowie and the Spiders make songs by the Pretty Things ("Rosalyn," "Don't Bring Me Down"), the Merseys ("Sorrow"), and the Easybeats ("Friday On My Mind") tough and nervy, occasionally surpassing the original versions in terms of attitude. So, if Pin-Ups isn't a major entry in Bowie's catalog, it is fun, even though it's a rather undistinguished final effort from the Spiders from Mars.

Stephen Thomas Erlewine - All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



One of the covers from David Bowie's Pin-Ups collection, "Sorrow" was originally performed by the Merseys — it was a smash hit in the UK but the band itself was doomed to one-hit wonder status, never releasing an album while its few further singles went nowhere. Bowie's rerecording helped make the song more well-known in America — arguably eclipsing it fully given that the original has barely surfaced on a legitimate issue since. Bowie's take avoids giving it the full glam-era treatment, instead favoring a lovely, generally restrained rendition with some strings that holds back the guitar to put the focus squarely on Bowie's singing. Deservedly so as well — his inclinations towards passionate crooning began to come to the fore around this time, and his ability to deliver in both restrained and melodramatic tearjerker mode gets easily confirmed by his bravura performance. He also sneaks in a bit of sax playing as well, while Mike Garson adds some fine piano parts to fill out the enjoyable arrangement.

Ned Raggett - All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



With everyone from the Band to Don McLean doing oldies albums, the Who revisiting the Mod era, and David Bowie's guitarist Mick Ronson's obvious brilliance in the genre (as evidenced by his one-man Yardbirdmania on "Jean Genie"), the idea of an album re-creating mid-Sixties English rock classics seemed perfect. And every song included has been a personal favorite for years. To Bowie they have been more—they are representative of a phase of the London scene he was very much a part of as leader of Davy Jones & the King Bees. He had the roots, perspective and proper motivation to make this album a success. Unfortunately, something went wrong in the execution.

Although many of the tracks are excellent, none stands up to the originals. That might be understandable when dealing with the Who (I doubt if they could equal their own "Anyway Anyhow Anywhere" today) or Pink Floyd. But even in 1965, any of a thousand bands could have done "Everything's Al' Right" as well as the Mojos, and even the McCoys did a better version of "Sorrow" than the Merseys or Bowie. But comparison with the originals is unnecessary, since they will be unfamiliar to most who listen to the album. In that light, many of the cuts do rate somewhat higher. Ronson & Co. turn in good raving tracks for the Pretty Things' "Rosalyn," the Yardbirds' "I Wish You Would," and the Kinks' "Where Have All the Good Times Gone."

But all have been underproduced. The songs were originally conceived as trashy, instant pop fodder, and their simplicity demands a rough edge to give them the punch they need to be effective. That edge is missing, since the tracks are mixed down to make way for Bowie's voice. And therein lies Pinups' true failure. In the past, the vocals in this genre would scream for attention from the very center of the tracks' blast of pure noise. But Bowie's vocals float carelessly above the music, and his excessively mannered voice is a ridiculously weak mismatch for the material. I have always thought Bowie more than merely avant garde, and credit him with the best of intentions. And while Pinups may be a failure, it is also a collection of great songs, most of which are given a more than adequate, and always loving, treatment. Maybe the fairest conclusion to draw is that Bowie can't sing any other way, did the best he could, and the result isn't all that bad.

GREG SHAW - RS 150
© Copyright 2002 RollingStone.com

  

 L y r i c s


ROSALYN

Hey Rosalyn, tell me where you've been
Hey Rosalyn, tell me where you've been
All the night and all the day
Hide and seek's the game you play
Treat me as sure as sin

Oh Rosalyn, yeah Rosalyn

VERSE
  Hey Rosalyn, you're the girl for me
  Hey Rosalyn, you're the girl for me
  When I'm holding you so tight
  It's so hard to say goodnight
  It's you that I love now can't you see?

CHORUS
  Do you really love me, do you love me true
  Do you really love me Rosalyn?
  Yeah gotta know, yeah gotta know
  Yeah gotta know Rosalyn

VERSE

CHORUS

Yeah gotta know, yeah gotta know
Yeah gotta know Rosalyn
Rosalyn
Yeah Rosalyn, Rosalyn, Rosalyn, Rosalyn, ooh-yeah, ah


HERE COMES THE NIGHT

Ohhhhh... here it comes
Here comes the night
Yeah, here comes the night
Oh, yeah (here comes the night)

I can see right out my window walking down the street my girl
With another guy
His arms around her like it used to be with me
Oh it makes me want to die

CHORUS
  Yeah, here it comes
  Here comes the night
  Yeah, here comes the night
  Yeah... (here comes the night)

There they go, funny how they look so good together
Wonder what is wrong with me
Why can't I accept the fact she's chosen him
And simply let them be?

CHORUS

Oh she's with him they're turning down the lights
Now he's holding her the way I used to do
I can see her closing her eyes and telling him lies
Exactly like she told me too

CHORUS (repeat ad inf.)


I WISH YOU WOULD

CHORUS
  Early in the morning by the break of day
  That's when my baby went away
  Come back baby I wish you would
  This crying and grieving won't do me no good

Hugging and a-kissing, late at night
You know pretty baby it feels just right
Come back baby what you're trying to do?
Turning on me and some other men too

Come back baby give me one more chance
You know I still love you gonna give you romance
Yeah, romance all night long
In my arms, oh yeah

CHORUS

Hey pretty baby I love you so
You know pretty baby it hurts me to see you go
Oh yeah (repeat ad inf.)


SEE EMILY PLAY

Emily tries but misunderstands
She's often inclined to borrow somebody's dreams 'til tomorrow

CHORUS
  There is no other day
  Let's try it another way
  You'll lose your mind and play
  Free games for May
  See Emily play

Soon after dark Emily cries
Gazing at trees in sorrow hardly a sound 'til tomorrow

CHORUS

Put on a gown that touches the ground
Float on a river for ever and ever
Emily

CHORUS


EVERYTHING'S ALRIGHT

Oh, little baby
You know I've been away
Oh, little baby
You know I'll come today
Don't you know that

Everything's alright  (everything's alright)
Everything's alright 
Everything's alright  (everything's alright, babe)
Let me hold your hand and be your loving man  (all night)
Let me hold your hand and be your loving man  (all night)
Let me hold your hand and be your loving man  (all night, alright!)

Oh, little baby
You know I feel so good
Oh, little baby
I never knew I could
And don't you know that

Everything's alright (everything's alright, babe)
Everything's alright
Everything's alright (everything's alright, babe)
Let me give you loving like nobody can (all night)
Let me give you loving like nobody can (all night)
Let me give you loving like nobody can (all night, alright!)

Let me hold your hand and be your loving man
Let me hold your hand and be your loving man
Let me hold your hand and be your loving man

No, no, no, no, no, that's a-loving you
(Must have been you, I'm gonna all night loving you)
No, no, no, no, no
I'll be good for you

Everything's alright (everything's alright, babe)
Everything's alright
Everything's alright (everything's alright, babe)
Let me give you loving like nobody can (all night)
Let me give you loving like nobody can (all night)
Let me give you loving like nobody can (all night, alright!)

Everything's alright
Everything's alright
Oooh


I CAN'T EXPLAIN

New feeling inside
It's a hot certain kind
I feel hot and cold
Down in my soul, baby

I can't explain
Going out of my mind
Dizzy in the head, and I'm feeling blue
Things you say well maybe they're true
I get funny dreams again and again
Knows what it means, but

Can't explain
I think it's love
Say it to you
When I feel blue

I can't explain, no, I can't explain

You know I can't explain
I'm going out of my mind
Well I'm a worried guy
But I can't explain


FRIDAY ON MY MIND

Monday morning feels so bad
Everybody seems to nag me
Coming Tuesday I feel better
Even my old man looks good
Wednesday just don't go
Thursday goes too slow
I've got Friday on my mind

CHORUS
  (See my baby) Gonna have fun in the city (feel like fucking you)
  (Do my baby screw) Be with my girl she's so pretty (all I want to do)
  (I'll go crazy) She looks fine tonight
  (zoom zoom zoom) She is out of sight to me (so divine)
  (Tonight)  I spend my bread
  (Tonight)  I lose my head
  (Tonight)  I've got to get tonight
  Monday I have Friday on my mind

Do the five day drag once more (Monday blue)
There is nothing else that bugs me
More than working for the rich men (poor man, beggar man,  thief)
Hey I'll change that scene one day
Today I might be mad
Tomorrow I'll be glad
'Cause I'll have Friday on my mind

CHORUS

(See my baby) (feel like fucking you)
Gonna have fun
(zoom zoom zoom)
Be with my girl (repeat ad lib.)


SORROW

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
Sorrow
You acted funny trying to spend my money
You're out there playing your high class games of sorrow
Sorrow

You never do what you know you oughta
Something tells me you're a Devil's daughter
Sorrow, sorrow
Ahhhh, ah, ahhhh

I tried to find her
'Cause I can't resist her (I tried to find her)
I never knew just how much I missed her
Sorrow
Sorrow

With your long blonde hair and your eyes of blue
The only thing I ever got from you was sorrow
Sorrow
Oh-oh-oh-oh
Oh-oh-oh, oh-oh

With your long blonde hair
I couldn't sleep last night
With your long blonde hair


DON'T BRING ME DOWN

I'm on my own, nowhere to roam
I tell you baby, don't want no home
I wander round, feet off the ground
I even go from town to town
I said I think this rock is grand
Say I'll be your man
Don't bring me down, don't bring me down

I met this chick, the other day
And then to me, she said she'll stay
I get this pad, just like a cave
And then we'll have, our living made
And then I'll lead her on the ground
My head is spinning round
Don't bring me down, don't bring me down

I, I, I, I, I need a lover 'cause someone new
And then to her I will be true
I'll buy her furs and pretty things
I'll even buy a wedding ring
But until then I'll ?settle down?
Say I'll be your man
Don't bring me down, don't bring me down
Until then I'll ?settle down?
Say I'll be your man
Don't bring me down, don't bring me down
Don't bring me down


SHAPES OF THINGS

Shapes of things before my eyes
Just teach me to despise
Will time make man more wise
Here within my lonely frame
My eyes just hurt my brain
But will it seem the same

CHORUS
  (Come tomorrow), will I be older
  (Come tomorrow), maybe a soldier
  (Come tomorrow), may I be bolder than today

Now the trees are almost green
But will they still be seen
When time and tide have been
Boy into your passing hands
Please don't destroy these lands
Don't make them desert sands

CHORUS

Soon I hope that I will find
A seed within my mind
That won't disgrace my kind


ANYWAY, ANYHOW, ANYWHERE

CHORUS
  I can go anyway (way I choose)
  I can live anyhow (win or lose)
  I can go anywhere (for something new)
  Anyway, anyhow, anywhere I choose

I can do anything (right or wrong)
I can talk anyhow (and get along)
I don't care anyway (I never lose)
Anyway, anyhow, anywhere I choose

Nothing gets in my way
Not even locked doors
Don't follow the lines that been laid before
I get along anyway I care
Anyway, anyhow, anywhere

CHORUS

Anyway, anyway I choose
I wanna go
Do it myself, do it myself, do it myself, do it myself
Anyway, anyway I choose


WHERE HAVE ALL THE GOOD TIMES GONE

In my life I've never stopped to worry about a thing
Opened up and shouted out and never tried to see
Wondering if I'd done wrong
Will this depression last for long

CHORUS
  Won't you tell me
  Where have all the good times gone
  Where have all the good times gone
  Where have all the good times gone

Once we had an easy ride and always felt the same
Time was on our side and I had everything to gain
Let it be like yesterday
Please let me have happy days

Ma and Pa looked back on all the things they used to do
Didn't have no money and they always told the truth
Daddy didn't have no toys
And Mummy didn't need no boys

CHORUS

Yesterday was such an easy game for you to play
But let's face it things are so much easier today
Guess you need some bringing down
Get your feet back on the ground

CHORUS

 M P 3   S a m p l e s


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