David Bowie - Aladdin Sane (30th Anniversary Remastered) (Disc 1
Information about David Bowie - Aladdin Sane (30th Anniversary Remastered) (Disc 1
Description
This is the first disc taken from the the two disc 30th anniversary remastered edition. The second disc contains alternate takes, single mixes, rarities, and previously unreleased material.
Track Listing
1. "Watch That Man" 4:30
2. "Aladdin Sane (1913-1938-197?)" 5:06
3. "Drive-In Saturday" 4:33
4. "Panic in Detroit" 4:25
5. "Cracked Actor" 3:01
6. "Time" 5:15
7. "The Prettiest Star" 3:31
8. "Let's Spend the Night Together" 3:10
9. "The Jean Genie" 4:07
10. "Lady Grinning Soul" 3:54
From Wikipedia:
Aladdin Sane is the sixth album by David Bowie, released by RCA Records in 1973. The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album Bowie wrote and released as a bona fide rock star. While many critics agree that it contains some of his best material, opinion as to its overall quality has often been divided. NME editors Roy Carr and Charles Shaar Murray called the album "oddly unsatisfying, considerably less than the sum of the parts", while Bowie encyclopedist Nicholas Pegg describes it as "one of the most urgent, compelling and essential" of his releases. The Rolling Stone review by Ben Gerson pronounced it "less manic than The Man Who Sold The World, and less intimate than Hunky Dory, with none of its attacks of self-doubt. It was one of six Bowie entries in Rolling Stone's list of the 500 greatest albums of all time (at #277) and ranked #77 on Pitchfork Media's Top 100 Albums of the 1970s.
From Allmusic.com
Review by Stephen Thomas Erlewine
Ziggy Stardust wrote the blueprint for David Bowie's hard-rocking glam, and Aladdin Sane essentially follows the pattern, for both better and worse. A lighter affair than Ziggy Stardust, Aladdin Sane is actually a stranger album than its predecessor, buoyed by bizarre lounge-jazz flourishes from pianist Mick Garson and a handful of winding, vaguely experimental songs. Bowie abandons his futuristic obsessions to concentrate on the detached cool of New York and London hipsters, as on the compressed rockers "Watch That Man," "Cracked Actor," and "The Jean Genie." Bowie follows the hard stuff with the jazzy, dissonant sprawls of "Lady Grinning Soul," "Aladdin Sane," and "Time," all of which manage to be both campy and avant-garde simultaneously, while the sweepingly cinematic "Drive-In Saturday" is a soaring fusion of sci-fi doo wop and melodramatic teenage glam. He lets his paranoia slip through in the clenched rhythms of "Panic in Detroit," as well as on his oddly clueless cover of "Let's Spend the Night Together." For all the pleasures on Aladdin Sane, there's no distinctive sound or theme to make the album cohesive; it's Bowie riding the wake of Ziggy Stardust, which means there's a wealth of classic material here, but not enough focus to make the album itself a classic.
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