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Bowie*The Singles Collection

Label:EMI – 7243 8 28099 2 0, EMI – CDEM 1512
Format:
2 x CD, Compilation, Remastered
Country:Europe
Released:
Genre:Rock, Pop
Style:Pop Rock, Glam

Tracklist

1-1Space Oddity
ProducerGus Dudgeon
5:14
1-2Changes
ProducerKen Scott
3:34
1-3Starman
ProducerDavid Bowie, Ken Scott
4:16
1-4Ziggy Stardust
ProducerDavid Bowie, Ken Scott
3:13
1-5Suffragette City
ProducerDavid Bowie, Ken Scott
3:25
1-6John, I'm Only Dancing
ProducerDavid Bowie, Ken Scott
2:46
1-7The Jean Genie
ProducerDavid Bowie, Ken Scott
4:06
1-8Drive In Saturday
ProducerDavid Bowie, Ken Scott
4:28
1-9Life On Mars?
ProducerKen Scott
3:49
1-10Sorrow
ProducerDavid Bowie, Ken Scott
Written-ByFeldman*, Goldstein*, Gottehrer*
2:53
1-11Rebel Rebel
ProducerDavid Bowie
4:29
1-12Rock & Roll Suicide
ProducerDavid Bowie, Ken Scott
2:58
1-13Diamond Dogs
ProducerDavid Bowie
6:04
1-14Knock On Wood
ProducerTony Visconti
Written-By [Uncredited]Eddie Floyd, Steve Cropper
3:02
1-15Young Americans
ProducerTony Visconti
5:10
1-16Fame4:14
1-17Golden Years3:58
1-18TVC 155:29
1-19Sound & Vision3:03
2-1Heroes
Written-ByBrian Eno, David Bowie
3:36
2-2Beauty & The Beast3:34
2-3Boys Keep Swinging
Written-ByBrian Eno, David Bowie
3:17
2-4D.J.3:59
2-5Alabama Song
Written-ByBertolt Brecht, Kurt Weill
3:50
2-6Ashes To Ashes4:22
2-7Fashion4:46
2-8Scary Monsters (And Super Creeps)5:11
2-9Under Pressure3:56
2-10Wild Is The Wind
Written-ByTiomkin*, Washington*
5:59
2-11Let's Dance4:08
2-12China Girl
Written-ByDavid Bowie, Iggy Pop
4:15
2-13Modern Love3:56
2-14Blue Jean3:10
2-15This Is Not America
FeaturingPat Metheny Group
ProducerDavid Bowie, Pat Metheny
3:48
2-16Dancing In The Street3:10
2-17Absolute Beginners5:36
2-18Day In Day Out4:11
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Companies, etc.

Credits

Notes

Released in standard-thickness double CD jewel case. Booklet contains the lyrics. The fat jewel box version with similar matrixes and no SID codes can be found here.

℗ & © 1993 David Bowie/MainMan under exclusive license to EMI Records Ltd.
Made & printed in Holland.

CD1: Tracks 1-15, 17 & 19 Digital Remasters ℗ 1990, Tracks 16 & 18 Digital Remasters ℗ 1991 the copyright in these sound recordings is owned by Jones Music/Mainman S.A. under exclusive license to EMI Records Ltd. Original Release: Track 1 1969, Tracks 2-4, 6 & 7 1972, Tracks 5 & 18 1976, Tracks 8-10 1973, Tracks 11-14 1974, Tracks 15-17 1975, Track 19 1977.

CD2: Tracks 1, 6, 7 Digital Remasters ℗ 1990, Tracks 2-4 Digital Remasters ℗ 1991, Tracks 5 & 8 Digital Remasters ℗ 1992, Track 10 Digital Remaster ℗ 1993 the copyright in these sound recordings is owned by Jones Music/Mainman S.A. under exclusive license to EMI Records Ltd. Track 9 Digital Remaster ℗ 1988 the copyright in these sound recordings is owned by Queen Productions Ltd./Jones Music/Mainman S.A. under exclusive license to EMI Records Ltd. Tracks 11-14 Digital Remasters ℗ 1990 the copyright in these sound recordings is owned by Jones Music under license to EMI Records Ltd. Tracks 15 & 18 Digital Remasters ℗ 1993 the copyright in these sound recordings is owned by Jones Music under license to EMI Records Ltd. Track 16 Digital Remaster ℗ 1993 the copyright in these sound recordings is owned by Virgin Music Ltd. Original Release: Track 1 1977, Track 2 1978, Tracks 3 & 4 1979, Tracks 5-7 1980, Tracks 8, 9, 10 1981, Tracks 11, 12, 13 1983, Track 14 1984, Tracks 15 & 16 1985, Track 17 1986, Track 18 1987.

The individual CD Catalogue Numbers can be found on the CD' as the last part of the text around the rim.

Barcode and Other Identifiers

  • Barcode: 7 24382 80992 0
  • Other (Cat# CD1): 7243 8 28100 2 5
  • Other (Cat# CD2): 7243 8 28101 2 4
  • Price Code (F:): PM 805
  • Label Code: LC 0542
  • Rights Society: BIEM/STEMRA
  • Matrix / Runout (CD1 Variant 1): 828100 @ 1 1-1-16-NL
  • Matrix / Runout (CD2 Variant 1): 828101 2 @ 1 1-1-5-NL
  • Matrix / Runout (CD1 Variant 3): 828100 @ 1 1-5-24-NL
  • Matrix / Runout (CD2 Variant 3): EMI UDEN 8281012 @ 2 3-1-29-NL
  • Matrix / Runout (CD1 Variant 4): 828100 @ 1 1-1-25-NL
  • Matrix / Runout (CD2 Variant 4): 828101 2 @ 1 1-1-24-NL
  • Matrix / Runout (CD1 Variant 5): 828100 @ 1 1-5-27-NL
  • Matrix / Runout (CD2 Variant 5): EMI UDEN 8281012 @ 2 3-1-30-NL
  • Matrix / Runout (CD1 Variant 6): 828100 @ 1 1-1-1-NL
  • Matrix / Runout (CD2 Variant 6): 828101 2 @ 1 1-1-4-NL
  • Matrix / Runout (CD1 Variant 7): 828100 @ 1 1-2-25-NL
  • Matrix / Runout (CD2 Variant 7): 828101 2 @ 1 1-2-26-NL
  • Matrix / Runout (CD1 Variant 8): 828100 @ 1 1-1-14-NL
  • Matrix / Runout (CD2 Variant 8): 828101 2 @ 1 1-1-14-NL
  • Matrix / Runout (CD1 Variant 9): 828100 @ 1 1-5-23-NL
  • Matrix / Runout (CD2 Variant 9): EMI UDEN 8281012 @ 2 3-1-19-NL
  • Matrix / Runout (CD1 Variant 10): 828100 @ 1 1-1-4-NL
  • Matrix / Runout (CD2 Variant 10): 828101 2 @ 1 1-1-8-NL
  • Matrix / Runout (CD1 Variant 11): 828101 2 @ 1 1-2-28-NL
  • Matrix / Runout (CD2 Variant 11): 828101 2 @ 1 1-3-7-NL
  • Matrix / Runout (CD 1 Variant 12): 828100 @ 1 1-2-22-NL
  • Matrix / Runout (CD 2 Variant 12): 828101 2 @ 1 1-2-24-NL
  • Matrix / Runout (CD 1 Variant 13): 828100 @ 1 1-1-16-NL
  • Matrix / Runout (CD 2 Variant 13): 828101 2 @ 1 1-1-15-NL
  • Matrix / Runout (CD 1 Variant 14): 828100 @ 1 1-1-1-NL
  • Matrix / Runout (CD 2 Variant 14): 828101 2 @ 1 1-1-12-NL

Other Versions (5 of 50)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
The Singles 1969 To 1993 (Featuring His Greatest Hits) (2×CD, Compilation, CD, Single, All Media, Limited Edition)RykodiscRCD 10218/19USA & Canada1993
The Singles 1969-1993 (2×CD, Compilation, Club Edition)RykodiscRCD 10218/19US1993
Recently Edited
The Singles Collection (2×Cassette, Compilation)EMI, EMI, EMI7243 8 28099 4 4, 7243 8 28100 4 9, TCEM 1512Europe1993
New Submission
The Singles Collection (2×Cassette, Compilation, Remastered)EMI, EMI7243 8 28099 4 4, TCEM 1512Europe1993
Recently Edited
The Singles Collection (3×LP, Compilation)EMI, EMIEM1512, 7243 8 28099 1 3UK1993

Recommendations

Reviews

  • brendonla's avatar
    brendonla
    Have this as a re-press from Ryko via BMG Music Club (remember them?). Had this since college in the late '80s. You couldn't ask for a better introduction to Bowie's music. It lacks some of his later hits from 1995 onwards, but still, if you don't know Bowie's music, this is a great place to start.
    • Groovyggg's avatar
      Groovyggg
      The Prettiest Star 1970 featuring Marc Bolan Sadly Missing :-( Could Have been Better Compiled With B-Sides to Complete the Package.. Disappointing For Collectors ..with No Surprises we Don't Already Have.. Many Duplicates from Greatest Hits ..? Why Bother ?
      • southpawgrammar's avatar
        Edited 2 years ago
        Certainly the greatest star (other than Marc Bolan) to emerge from the ashes of swinging London, David Bowie was the foremost innovative tunesmith and cultural icon of his generation, eschewing the limitations of classification by trading in one persona after another in pursuit of artistic power and commercial success. Readily adopting alternate sounds and imagery to fit whatever style of music took his fancy at the time, Bowie successfully operated in the hippie, folk, art and proto-punk scenes alongside Mick Ronson and Marc Bolan until the formation of his most iconic alter ego: Ziggy Stardust. A very shrewd and switched-on Bowie, apprized of all manner of mainstream and underground musical genres, endeavoured to prevent his profile from being defined as that of a fey, unimposing singer-songwriter, a public perception insufficiently flamboyant to satisfy increasingly observant baby boomers for whom sound and vision was of equivalent value. Boldly moving towards a definitive formula, Bowie was making an impact on a much wider scale, and before long, Bowie mania was in full swing, evolving from a growing fanbase avowedly accordant with a sexually ambiguous and genderfluid creature from outer space.

        As evidenced by his titular metamorphosis into Ziggy the glam rock alien, Bowie's decidedly abstract, hedonistic style was reaching new heights, albeit in a more streamlined fashion, allowing him to retain his strangeness whilst achieving numerous Top Ten hits in both the UK and the US. However, Bowie's propensity for transfiguration would cause upset among fans, just as it did in Bolan's case. After all, Ziggy was outstaying his welcome and no longer had the same awe-inspiring power as when he first featured in the public consciousness. Having exhausted his commercial appeal with an immensely established persona that connected so deeply with the youth-driven cultural revolution of glam rock, Bowie had yet to reach his creative zenith, and as the craze came to a close, cocaine-fuelled paranoia led him to take on more challenging projects. Predictably, once Bowie retired Ziggy and all that went with it, namely the sci-fi predilections, detached cool, teenage adulation and the Spiders from Mars, his popularity fluctuated.

        Undeterred yet also dissatisfied by the lukewarm critical reception to his less focused and distinctive post-Ziggy efforts, he returned to his cutting-edge artistic roots. Bowie's collaborative "Berlin" trilogy with Brian Eno stands as the culmination of his introspective, mercurial nature, studio experimentation and cinematic inclinations. At this point in his career, Bowie may not have been an entirely commercial viable superstar, but he was at his most fearless and sophisticated, and arguably still unlike any other artist in terms of style and substance. By his delivering his most influential, monumental and focused material in such a low-key manner, he had silenced all of his detractors in one fell swoop, though in what critics would view as an act of self-sabotage and defiance, he then turned at once tasteful and daring crowd-pleaser and sometime actor, growing into a more commercially-driven artist whose main goal was global recognition rather than reverence. Inevitably, maintaining success and critical acclaim as his hipness and freshness faded proved problematic, and a slow decline in record sales resulted in his extensive catalogue becoming ripe for dissection, reexposure and reappraisal. Naturally, a series of compilations and reissues would flood the market to capitalize on this credible reassessment tactic. In 1993, EMI released "The Singles Collection", a well-packaged, fully remastered two-disc compendium of hits and misses spanning 24 years. Without missing much important ground and containing all the selections one would expect and more, the compilation stood apart from its predecessors as the least concise and user-friendly introduction. A favourably faithful retrospective, it remains the only Bowie anthology to favour original single mixes, thus providing neophytes with an incomparably accurate picture of his evolution, from the sweeping balladry of "Space Oddity," "Life on Mars," "Changes," "Heroes," glam rock kitsch of "Ziggy Stardust," "Jean Genie," "Rebel Rebel," and dance-rock exuberance of "Ashes to Ashes," "Let's Dance," "Modern Love," and "Blue Jean" - almost every period is represented. Quite simply, the sheer variety, exactness and comprehensiveness of this set make it an essential purchase, especially for those who wish to hear Bowie at his chameleonic, swaggering, moody best.

        RATING: 4.5/5

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        • Want:80
        • Avg Rating:4.41 / 5
        • Ratings:299

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