Pinups

Pinups
David Bowie
RCA 1973

Sleeve: front, rear, inner sleeve. David Bowie is with Twiggy on the front cover.

Produced by David Bowie and Ken Scott
Arranged by David Bowie and Mick Ronson

side oneside two
RosalynFriday On My Mind
Here Comes The NightSorrow
I Wish You WouldDon’t Bring Me Down
See Emily PlayShapes of Things
Everything’s AlrightAnyway, Anyhow, Anywhere
I Can’t ExplainWhere Have All The Good Times Gone
details of writers and originals below

1990 bonus tracks

Growing UpBruce Springsteen (Diamond Dogs sessions)
Port of AmsterdamJacques Brel, translated Mort Schuman (B-side of Sorrow sigle)
Neither fit the “late 60s British” theme of the album

MUSICIANS

David Bowie- vocals, guitar, tenor and alto saxophone, harmonica, Moog sythesizer
Mick Ronson – guitar, piano, vocal
Trevor Bolder- bass guitar
Anysley Dunbar – drums
Mike Garson – piano, organ, electric piano, harpsichord
Ken Fordham – baritone saxophone
Michel Riposte – violin
Geoff MacCormack- backing vocals
+
Ronnie Wood – guitar on Growin’ Up

CHART:

UK #1
US #26
Australia #4
Netherlands #6

Preamble … choosing a Bowie album

This was a problem. Finding a “reviled” David Bowie album is akin to saying Beatles For Sale is a weaker Beatles album. It is, but it’s still better than most bands will ever accomplish. I originally put Pinups in the list of ones to do, remembering it as a mildly less popular sidestep. I discussed it at length. Low got a few disappointed reviews on release, but people who thought that have deleted their comments in the face of universal five star opinions a little later.

We could go later … Never Let Me Down was cited by Bowie as his worst album. Tonight is not a good one. Personally, I dislike the first Tin Machine. The thing is the albums in this section are all late 60s to mid 70s, and we need to stay there. So Rolling Stone’s summary to 1980 in star ratings. Discounting live and archive albums, Pinups gets the choice (and I would certainly have rated Young Americans as five star, so there!).

Rolling Stone album ratings

Reviled? Pinups was a UK #1. It’s actually American critics who didn’t get it. But Pinups it is, based on Rolling Stone magazines final ** grading (Never Let Me Down and Tonight were one star later). Also I like Pinups and I have to re-listen several times while doing the article.

David Bowie and me

I saw David Bowie a few times in the late 60s period this album of covers is devoted to. I suspect he played support slots to most of the bands he covered here on Pinups. In Bournemouth Pavilion Ballroom, Davy Jones and The Lower Third tended to be the middle band in a line-up of three. Two friends were in bands that were in the third slot. On the sleeve, Bowie quotes the clubs he remembers … but the money was in these big 1500 capacity seaside ballrooms, like Bournemouth Pavilion. The top of the bill would likely be The Alan Bown Set or Simon Dupree and The Big Sound. Both were hugely popular … and cost more than The Kinks or The Who at the time. We didn’t pay much attention to Davy Jones and I can’t remember anything significant. You see, the second band slot was trying to get off with a girl by dancing, before everyone tended to stand at the front to watch the top of the bill, at which point you might risk putting your arm round her. Nervous cough at the end, ‘Walk you to the bus stop?’ (winter) or ‘Walk you to your guest house?’ (summer season).

My friend Hutch remembers supporting Davy Jones with the Palmer-James Group. He was reading a magazine and Mr Bowie walked over and said, ‘Turn to the pages at the back.’ He found a lingerie advert and said, ‘I drew that one. Sexy, innit?’ For he was a commercial artist in the day job. And he drew a pinup. Everyone recalls him as extremely personable.

I also saw The Spiders From Mars, when they were The Rats from Hull. The Rats were a regular ‘bottom of the bill band’ at Hull University, as was Joe Cocker from Sheffield.

I saw Bowie early in 1972. It was only the third gig in that breakthrough tour 11 March 1972. We had front row seats (as with Lou Reed, same venue) at Southampton Guildhall. We’d never seen artists change costumes totally during a guitar solo before. It was breathtaking. It remains in my top gigs ever … with Muddy Waters, Marvin Gaye, k.d. lang, Leonard Cohen and Natalie Merchant. I have to admit that live Bob Dylan, The Beatles, The Band, The Who, The Kinks were not as good. We saw him six months later at the Royal Ballroom, Bournemouth (now the O2). The edge had gone somewhat. it was already an act.

Pinups … what the critics said

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 Alright” as well as the Mojos, and even the McCoys did a better version of “Sorrow” than the Merseys or Bowie … 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.
Greg Shaw, Rolling Stone, October 1973

The idea of reviving these British oldies is a great one, but most of those fanatic enough to know all the originals aren’t very excited. I know half and I’m not excited either. I mean, it’s good to recall the screaming frustration on the nine to five of ‘Friday On My Mind’ but when Bowie screams, he sounds arch. And that ain’t rock ‘n’ roll. Yet. Original grade C +. B –
Robert Christgau, Christgau’s Guide to Albums of The 70s

Pinups, a collection of mid-sixties British rock classics failed, because with few exceptions he never strove to redefine or challenge the originals.
John Milward, Rolling Stone Record Guide 1979 **

Bowie proudly displayed his Sixties London roots on Pinups, which consisted entirely of songs of the era transmogrified into Ziggy music via wooden passionless vocals over chaotic playing. Its hollow rock is successful inasmuch as Bowie’s forte has always been interpretation, refining others’ ideas. His stilted tortuous delivery and supercharged arrangements of Who / Pretty Things / Kinks etc classics form an affectionate take off – a tribute that sidesteps nostalgia.
Scott Isler, New Rolling Stone Record Guide, 1983 **

Bowie’s mostly faithful versions of British invasion classics pale in comparisons with the originals, his mostly teenage cult was to young to know or care about the difference
Mark Coleman, Rolling Stone Album Guide, 1992 **

Pinups was a set of Swinging London covers with Twiggy on the cover. The one grerat moment is the Yardbirds Shapes of Things where Bowie becomes an unlikely ecologist, whimpering Please don’t destroy the lands …
Rob Sheffield, New Rolling Stone Album Guide, 2004 **

(The four above reviews prove that Rolling Stone doesn’t simply recycle these guides. New every time)

A quick and sloppy covers album.
Douglas Wolk, Pitchfork

Ziggy Stardust and Aladdin Sane had established Bowie as perhaps the most fiercely original of all England’s glam rockers, so an album of covers didn’t make any sense and was especially confusing for American fans.
Bruce Eder, All Music com.

The Melody Maker review by Michael Watts was totally positive:

The laughter is recognition at the accuracy of it all. There’s not one version that usurps the original- maybe “Sorrow” the single – but interpretation is valid. I suppose Pinups will be seen as a trifle. I think it clearly emphasizes his brilliance as a stylist and innovator of modes, which is where his true originality lies.
Michael Watts, Melody Maker, 20 October 1973

So far criticism has veered from the lukewarm to the downright contemptuous … If you were into all this stuff first time round then you probably won’t touch this with a ten-foot dildo, unless someone tries to talk you into it. Allow me to try, however. If you approach this as a fairly charming piece of nostalgic self-indulgence, then you’re going top encounter any major barriers. On the other hand, if all these songs are new to you, then you’re really going to dig it. Listen to Pinups in the spirit in which it was made and it’s mostly an OK album, an on occasion, considerably better than that.
Charles Shaar Murray, Oz #48, 1973, reprinted in ‘Shots From The Hip’ 1991

A cover should always be an interpretation that somehow reveals something new about the song … Too many of these songs sound like thin rehashes rather than the clever rethinks one might expect from a chap like Bowie. The Mojos’ song is so overpolished that it sounds absurd and The Yardbirds’ song, itself a slightly inferior cover of the Billy Boy Arnold original, doesn’t work at all. 
Tony Thompson, Daily Review, June2020

Pinups

It was the year of the covers albums. Bryan Ferry did These Foolish Things. Three thousand miles away, The Band did Moondog Matinee. Two years earlier Bob Dylan had done Self Portrait. Critics generally felt a covers album betrayed a lack of new material in the face of an irate record company demanding their pound of flesh as per contract: a new album.

Bowie made an announcement on stage at Hammersmith Odeon in July 1973 (not for the last time) that for he and the Spiders From Mars ‘This was the last show that we’ll ever do.’ Bassist Trevor Bolder and drummer Woody Woodmansey were as shocked as the audience. They also discovered that keyboard player Mike Garson, who had joined from Aladdin Sane was being paid more than them. The pair were told their services were no longer required. Bowie wanted the same rhythm section as Lou Reed’s Berlin … Aynsley Dunbar on drums, and Jack Bruce on bass. Jack Bruce was otherwise engaged, so Trevor Bolder was re-hired. There was something of an atmosphere in that he knew this was the end of his association. Looking back, I’d say he was a better choice of bass player for recreating these 60s songs … Jack Bruce would have done something too clever.

Pinups entered the album chart at #5 on 27 October 1973, and was #1 a week later. The opportunistic reissue of The Laughing Gnome on Deram had just reached #4.

Pinups stayed at #1 until just before Christmas in the New Musical Express. Seven weeks at the top. For two weeks, Sorrow was #2 in the NME singles chart. When Pinups entered the chart, Aladdin Sane was #10, Hunky Dory was #13. Two weeks later … Lou Reed’s Berlin was #17. The Rise & Fall of Ziggy Stardust then re-entered the chart at #25.

Pinups track by track

The album was recorded at Chateau D’Herouville near Paris in July and August 1973. It had two new 16 track studios, in a building that had belonged to Chopin, and later to George Sands. It gave Elton John’s Honky Chateau its title too. Lulu was there in what sounds like an idyllic recording environment:

The rooms were like dormitories and very basic, but the food was amazing. The kitchen stayed open all hours and there was always someone in the dining room. At dinner we sat around a long table lit with candles and loaded with delicious food. Afterwards we worked in the studio until dawn Then we’d sleep in late and lie around the pool (everyone except David and I, who didn’t like the sun.)
Lulu, ‘I Don’t Want to Fight,’ 2002

Lulu’s presence caused problems as arguments were going on with her other labels about her working with Bowie. So much so, that Ken Scott was told to absent himself from her sessions … he set up everything in the studio, so all they had to do was press ‘record’ and says as she walked in, he left.

The album sleeve declares:

David Bowie: These songs are among my favourites from the ’64–67′ period of London. / Most of the groups were playing the Ricky-Tick (was it a y or an i? – Scene Club circuit, Marquee, Eel Pie Island, la-la). Some are still with us. Pretty Things, Them, Yardbirds, Syd’s Pink Floyd, Mojo, Who, Easybeats, Merseys, The Kinks. Love ya!

Ken Scott has said it was designed as a complete contrast to the other albums, and aimed at the USA because he wanted to do songs that weren’t known as well in the States as they were in England.

Ken Scott: It was originally conceived to contain one of David’s songs and the rest covers of songs by English club bands of the Sixties, the opposite of the last three albums, but somehow David’s song never came to fruition. For the covers we would listen to the original records, then a decision was made as to whether to keep close to that arrangement or change it, then work it out and record.
Ken Scott, May 2015, in Five Years (1969-73) box

Rosalyn

WriterGroupLabeldate chart
Jimmy Duncan, Bill FarleyThe Pretty ThingsFontanaJune 196441

The Pretty Things version, their first record, defines raucous with a straight Bo Diddley guitar and loud, loud bass line. It’s pre-punk by thirteen years. There’s no doubt the players on the Bowie are more competent, it’s far better recorded, and Mick Ronson easily wins any guitar battle, but with this sort of song the rougher the better. Bowie abandons his normal precise articulation and gets down and dirty and howls.

Here Comes The Night

WriterGroupLabeldate chart
Bert BernsThemDeccaMarch 19652
Bert BernsLuluDeccaMarch 196550

I can see another narrative here. David Bowie produced Lulu’s version of his The Man Who Sold The World (a UK #3 hit) during the Pinups sessions in France at Chateau du Hérouville. Lulu had the exact Pinups backing group, with Bowie playing guitar and saxophone. He would have known that when Bert Berns brought Here Comes The Night to London in 1964, he managed to produce it twice in short order, both for Decca singles. It was Lulu’s third single, and Them’s second. Them won the race but her version was creditable. She was in France at the time. Bowie is channeling the Them version. Van Morrison wrote the sleeve notes to The Complete Them and lists the personnel on the original. Only he and Billy Harrison (lead guitar) were from Them, with Jimmy Page on rhythm guitar, Alan White on drums, Phil Coulter on organ and The Ivy League on backing vocals.

David Bowie’s version starts wilder and has the saxes, and a better bass and more urgent drum part. He dispenses entirely with the loud picked guitar figure and uses brass instead. He doesn’t copy the arrangement. The solo switches to tortured sax. He doesn’t go near Lulu’s version with its heavenly choir and soaring strings.

Comparison? Van is the classic. If you could have one you’d choose it, but Bowie’s take is very good indeed. A significant version is Van Morrison from It’s Too Late To Stop Now with a string section. Bowie would have probably known that too.

I Wish You Would

WriterGroupLabeldate chart
Billy Boy ArnoldThe YardbirdsColumbiaMay 1964

Early Yardbirds … like The Pretty Things and Pink Floyd, Bowie’s going for their first release. Billy Boy Arnold was playing with Bo Diddley when he wrote it … another Rosalyn link. The Yardbirds avoided the straight Bo Diddley rhythm, and has Eric Clapton on guitar, though Jeff Beck is on the Top of The Pops clip. The harmonica from Keith Relf is prominent.

Comparison is a swine, because the recording techniques in a 1973 state of the art studio show through. Bowie’s band is tighter. Aynsley Dunbar as throughout proves a better drummer than on most of the originals. The twin guitar sound – one on either speaker dominates. Bowie deliberately adopts a Relf-like vocal tone, dare I say, slightly squeaky.

My favourite recording of the song is by Jacknife in 1979 from the I Wish You Would album. John Wetton singing and bass, Richard Palmer-James guitar and John ‘Hutch’ Hutcheson on organ (the Hutch mentioned earlier) with Curt Cress on drums..

See Emily Play

WriterGroupLabeldate chart
Syd BarrettPink FloydColumbiaJune 19676

He’s masterful, not so much in his absolute fidelity to the originals as in grasp of phrasing, nuance and style. This is at its most overt in his treatment of the Syd Barrett opus, See Emily Play, where he employs deliberately screwy use of electronics in a fond pisstake of the Pink Floyd, and on part of the vocal he has a gruff cockney chorus, reminiscent of The Bewlay Brothers, but this time conjuring up the picture of singing pugs at the Thomas a Beckett gym.
Michael Watts, Melody Maker, 20 October 1973

I agree, this one is a triumph. It is significantly different. Note that Bowie’s notes call the band ‘Syd’s Pink Floyd.’ One suspects that 1973 Pink Floyd minus Syd Barrett may have been less his cup of tea. The sudden loud stereo flashes like the harpsichord-sound trilling suddenly on the right are different. It’s a homage to the often daft bits of the original. Love it. It deserves as a place as a marvellous commentary on the original.

Everything’s Alright

WriterGroupLabeldate chart
Nicky Crouch, John Konrad,
Simon Stavely, Stuart James, Keith Karlson
The MojosDeccaMarch 19649

The Mojos had three hits from seven or eight releases. This was easily the biggest one. Aynsley Dunbar had been a member of one of the later incarnations of The Mojos (AFTER Everything’s Alright) so he would have known it well. Then again, Dunbar’s session discography is second to none. The record was a live favourite with lots of bands in the mid 60s. Yet again on this album, Dunbar’s drumming stands out as better than the original, and Trevor Bolder’s bass is more fluid too. The chorus was a major part of the original, and here they play about with it with grunts and groans and treble bits. They sound as if they’re having lots of fun with it, ending it with a Beatlesque “oooh!”

I Can’t Explain

WriterGroupLabeldate chart
Pete TownshendThe WhoBrunswickFebruary 19658

An attempt to do a Vanilla Fudge slowdown collapses almost instantly.
Charles Shaar Murray, Oz #48, 1973, reprinted in ‘Shots From The Hip’ 1991

Bowie slowed it a great deal. Was the song too iconic to touch? The main difference is that The Who were faithful to their basic guitar / bass / drums set up, and on this one Mick Ronson was free to add a lead guitar line over the beginning, then there’s sax in the middle. The backing vocals move way back and are ethereal. Bowie interprets the lyrics while the excitement of the original is racing through them half-heard. It’s a version showing what his band can do, you’d applaud it on a live show but it’s really no competition with the original.

Some overdubbing was done throughout back at Trident, London. This was almost entirely re-done in the UK:

Ken Scott: Somehow we came up with the idea of taking the tape speed down and it immediately felt better. There was just one problem, slowing it down took it completely out of the key it was supposed to be in, so everyone but Aynsley had to re-record their parts, but, because it felt so different, they would probably have done that anyway.
Ken Scott, Five Years box set

The Who version had scraped into the US chart at #93, but by 1973, live albums and hit compilations would have made it familiar to most American listeners.

Friday On My Mind

WriterGroupLabeldate chart
George Young, Harry VandaThe EasybeatsUnited ArtistsOctober 19666

The Easybeats were Australian, and two of the band wrote the song. It has been voted “Best Australian rock song of all time” in Australia where it was a #1 hit. This one was a big hit in the USA too … #16. This may be why reviewers in the USA tend to focus on it. The chorus was inspired by The Swingle Singers according to the band. The song had many covers over the years, but songwriter Harry Vanda has stated that Bowie’s version is “the only cover I ever liked.”

The Easybeats version on YouTube appears to be live and pretty rough. Bowie is a better singer with a better band. On this, if you prefer the original, that would be familiarity with and nostalgia for a well-loved songs. The song is almost pre-psyche.

Sorrow

WriterGroupLabeldate chart
Feldman, Goldstein, GottehrerThe McCoysImmediateDecember 1965B-side 44
Feldman, Goldstein, GottehrerThe MerseysFontanaApril 19664
Feldman, Goldstein, GottehrerDavid BowieRCAOctober 19732

This is where the references get it wrong. They say this is a cover of The McCoys B-side to Fever, which was only a minor hit. Bowie has been very clear that he was covering the live material he saw in the clubs and ballrooms early in his career. He didn’t see The McCoys, that’s for sure. He would have seen The Merseys who had a great big #4 hit with Sorrow in 1966. Read the notes by Bowie … he lists The Merseys.

Bowie’s version is easily the best, especially the languid (Bryan Ferry style?) vocal. Great saxes in the solo. Then after the saxes he suddenly ups the emotion. What sounds like a string section is interesting. Is it Moog synthesizer? If so it’s very well done. But a French violinist was present though uncredited.

Don’t Bring Me Down

WriterGroupLabeldate chart
Johnny DeeThe Pretty ThingsFontanaOctober 196410

Back to The Pretty Things. Pure garage band. Bowie inevitably sounds too polished and not pimply youth enough. Yes, Dunbar is a better drummer. As with Rosalyn that’s not the point.

Shapes of Things

WriterGroupLabeldate chart
Paul Samwell-Smith, Jim McCarty, Keith RelfThe YardbirdsColumbiaMarch 19663

There’s all the fun of Mick Ronson trying to ape Jeff Beck on Shapes of Things, which I suspect he urged Bowie to include.
Michael Watts, Melody Maker, 20 October 1973

Jeff Beck’s feedback, and one of the first “psych” singles. It’s another one Americans were familiar with … US #11, Canadian #7.

Jeff Beck: There was mass hysteria in the studio when I did that solo. They weren’t expecting it and it was just some weird mist coming from the East out of an amp. Giorgio (Gomelsky) was freaking out and dancing about like some tribal witch doctor.

Jeff Beck then re-did it on Truth with Rod Stewart on vocals and Ron Wood on bass. It was a guitar breakthrough. Probably the best version.

Trevor Bolder’s bass strides through (not quite up to Ron Wood’s) and I’m sure Michael Watts put his finger on Mick Ronson wanting to have a go at it … but it’s pretty restrained in the distance mostly till the solo with two guitars and galloping Aynsley Dunbar drums. It’s more coherent in that I never really listened to the vocals on the original.

Anyway, Anyhow, Anywhere

WriterGroupLabeldate chart
Roger Daltrey, Pete TownshendThe WhoBrunswickMay 196510

He’s best of all on The Who where he subtly slows down his voice in a great approximation of Daltrey … Anyway has an even finer absurdist quality in Aynsley Dunbar’s attempt to parody Moon’s drum breaks.
Michael Watts, Melody Maker, 20 October 1973

Anyway, Anyhow, Anywhere picks up remarkably well after an initially disastrous opening where he tries to sing like Presley (Elvis, not Reg).
Charles Shaar Murray, Oz #48, 1973, reprinted in ‘Shots From The Hip’ 1991

I don’t get the Presley connection, but otherwise it’s another good shot at an original that was unbeatable.

Where Have All The Good Times Gone?

WriterGroupLabeldate chart
Ray DaviesThe KinksPyeDecember 1965B-side 8

This is the only song with its lyrics on the insert. I reckon Bowie was rescuing a superb B-side (of Till The End of The Day) from semi-obscurity … at the time. Maybe his version was where Ray Davies and The Kinks started featuring the song live. Bowie’s version accentuates the guitar riff in a way that makes you think ‘Classic Kinks’ riff in You Really Got Me / Till The End of The Day mode, but actually it sounds more like The Kinks than the Kinks version. Obviously much smoother … he can’t ever get the Pretty Things / Kinks rawness with this band.

Bonus tracks

It doesn’t need them, and they crack the integrity of the concept. My LP is original, and my CD copy is pre-bonus track.

Amsterdam (Jacques Brel)

Amsterdam: David Bowie, B-side of Sorrow, American copy

That’s the title on the single, though it’s Port of Amsterdam as a bonus track. It justifies its presence as the B-side of the Sorrow single. It’s the right era … 1964. Scott Walker did a cover in 1967 on Scott which may have been influential. Bowie’s version may well be earlier … some suggest 1971. It doesn’t sound like anything from the Pinups sessions. It’s all prominent acoustic guitars and a semi-narrative tone. Great performance in itself – it doesn’t fit though.

Growin’ Up (Bruce Springsteen)

This is definitely a Diamond Dogs outtake, not the same sessions. Ronnie Wood plays guitar. It’s good. It’s not a patch on Springsteen, and I guess it was put on the reissues to make them more “US friendly.” A bad idea.

Overall

I loved Pinups then and I love it now. The band sound distinctive while reproducing the originals. David Bowie applies his instantly signature voice to a variety of songs, managing to both imitate the originals and remain himself. I actually have copies of every one of the originals too.

It is significant that British critics are fonder of the album than American ones who didn’t get it. You can approach covers as a rethought version of a basic song … the extreme would be something like Cat Power doing Satisfaction languidly and slowly without the chorus. You can transform it entirely into your own style as Otis Redding did with Satisfaction. Bowie is doing neither, he’s redoing them close to the originals in style but with his voice. It’s like, I imagine, seeing Davy Jones and The Lower Third doing covers in the ballrooms. I don’t think a covers album has to exceed originals, so much as curate a bunch of good ones and do them in your own style.

The significant thing is that throughout he sticks pretty close to original lengths … OK, he adds a tad, but apart from See Emily Play (4m 13s) it’s all around three minutes or considerably less. 1973 was an era when singles had got longer so albums were four songs or five songs a side. This is old style … six songs a side. Don’t Bring Me Down is just 2m 06s. Rosalyn is 2m 21s. I Can’t Explain is 2m 15s. Everything’s Alright is 2m 29s. This is a statement in itself. It reminds me of seeing The Everly Brothers in the 80s when Don Everly apologised because some songs had drifted beyond their preferred two minutes.

Last words?

David Bowie: Pinups was really my way of shaking off Ziggy completely, while retaining some excitement in the music. It really was treading water, but it happens to be one of my favourite albums. I think there is some terrific stuff on it.

David Bowie: I loved all those old songs. I love covering other artists and I always got a thrill out of introducing new people to other people.
Paul du Noyer, The Lost Interview, printed in Mojo September 2020

COLLECTABILITY

Not fantastic. A 1973 original with the insert inner rates at £40 mint. A mint one would be rare, but #1 for seven weeks means it’s not hard to find either. A reissue rates at £15 mint.

Sorrow / Amsterdam 45 is only rated at £5 mint. Again, it’s not rare. A 1983 reissue with picture sleeve is rated the same as the 1973 original in its company sleeve. People liked that uniform reissue series.

2 thoughts on “Pinups

  1. From Bill M: Canadian comments: My high school chums tended to be sold on Bowie right from the start, but “Pin-Ups” was the first one I liked. I was aware that they were cover songs, but at the time I wasn’t the least bit familiar with most of the originals. “Diamond Dogs” is the Bowie LP that I reviled

    Liked by 1 person

  2. I missed Pinups the first time around. When I started reading this article, I thought that I would pass it by again. When I finished the article, I knew I had to go back and get it. This is what I like the best, discovering records that I missed the first time around. It’s easier for me to do this in jazz and blues, so when I find one in rock, I am a happy camper. Thanks Peter. Joe

    Like

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