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Review: "I don't know where I'm going from here, but I promise it won't be boring," David Bowie famously quipped at his 50th Birthday concert in Madison Square Garden. That was 1997, and sadly we can now look back at the years between then and now as the last the icon would enjoy, although given the pantheons of unreleased material, music and other, we still have more than his legacy alone to learn from. He certainly kept his word, then, not least by opting to work with Trent Reznor and Nine Inch Nails, a band that found inspiration in myriad styles and sounds, from Human League to Pink Floyd, carving out a 'industrial electronic rock' niche for themselves. In addition to tours and one-off shows, recordings of their collaborations are remarkable, generating fresh wholes from the enormous sums of these parts.

Review: "NINE INCH NAILS' GROUNDBREAKING DEBUT ALBUM
REMASTERED AND RE-RELEASED

Fans can now revisit the conception of Nine Inch Nails. Trent Reznor's Null Corporation has teamed with UMe/The Bicycle Music Company to release Pretty Hate Machine: 2010 Remaster on November 22, 2010. After completing the score for David Fincher's The Social Network, Reznor oversaw the digital remastering of Pretty Hate Machine from the newly unearthed original tapes with engineer Tom Baker (whose NIN credits include The Downward Spiral, Broken, The Fragile, With Teeth and Ghosts). This remastered version includes an eleventh track, a cover of Queen's ''Get Down Make Love,'' originally the B-side to the ''Sin'' single and produced by Al Jourgensen. Rob Sheridan, NIN's longtime art director, has also re-imagined the packaging of Pretty Hate Machine under Reznor's supervision.

As a young musician in Cleveland, Ohio, Reznor took a job at a local recording studio and employed unused studio time to develop his own material. The nascent album was later recorded with his favorite producers including Flood/Mark Ellis (U2, Depeche Mode, PJ Harvey), John Fryer (Cocteau Twins, This Mortal Coil), Adrian Sherwood (Ministry, Cabaret Voltaire) and Keith LeBlanc (Tackhead). The result was the first Nine Inch Nails album, 1989's Pretty Hate Machine. All songs were written, arranged, programmed and performed by Reznor. The album featured the breakthrough singles ''Sin,'' ''Down In It'' and ''Head Like A Hole,'' and ultimately sold over 3 million copies, reaching Triple Platinum sales status. In the wake of the album's initial underground success, NIN soon developed a reputation as one of the best live acts in rock and joined the inaugural Lollapalooza tour in 1991. NIN have since sold more than 18 million albums, collected Grammy® Awards and headlined arenas, amphitheaters and festivals worldwide.

The Bicycle Music Company acquired the rights to Pretty Hate Machine from a division of Prudential Securities in the spring of 2010. It was Bicycle's intention from the onset to enable Reznor to regain some control of this lost piece of NIN's legacy, resulting in this artist approved 2010 reissue of one of music's most groundbreaking and influential albums.

Reznor is currently working on new music as a member of the group How To Destroy Angels, continuing his Nine Inch Nails efforts and composing for future film score projects.

TRACK LISTING:
1. Head Like A Hole
2. Terrible Lie
3. Down In It
4. Sanctified
5. Something I Can Never Have
6. Kinda I Want To
7. Sin
8. That's What I Get
9. The Only Time
10. Ringfinger
11. Get Down Make Love"

Review: 1995 saw the unlikely pairing of David Bowie and Nine Inch Nails playing together in a live setting, as part of the latter's 'Self Destruct Touring Cycle' - this arm being the Dissonance tour. Bowie was celebrating his then-latest album 'Outside', while NIN were still reeling from the roaring fallout success of 'The Downward Spiral'. This new 180-gram LP version consists of a picture disc with fitting spiky red lettering, straddling the typographic connotations of both Ziggy Stardust and Trent Rezor. The recordings themselves are remastered and greatly-enhanced versions of the original KLLT-FM and Syndicated radio broadcasts, documenting two live appearances at the Riverport (MO) and Shoreline (CA) Amphitheatres. Be sure not to skimp on timeless restylings of 'Hallo Spaceboy' and 'Hurt', each artist lending strange charisma to each other's masterworks.

Review: While David Bowie's talents were many, it was his skills as a musician, a composer and a performer which were, and indeed remain, the most celebrated of the great man's gifts. But Bowie was a self-taught intellectual too, a thinker of unparalleled originality and, quite probably, the best-read rock star of all time. He was also a talented speaker, an enormously absorbing conversationalist and someone you just know you could have had a damn good chat with, if only the opportunity had arisen. When these faculties are combined, as they are throughout the recordings here, some of the most stimulating archive film available on the boy from Beckenham is revealed. This double DVD set concentrates on David Bowie's spoken word video recordings, collating as it does more than 3 hours of the Thin White Duke in interview, in conversation, in conference and when simply having a bit of a natter! Intriguing and enthralling throughout, this set features both classic and rare footage, which all at once make it a must-have compilation for Bowie fans the world across.

Review: David Bowie's legacy lives on years after his death - that is if it hasn't even grown since the great artist's sad passing. This unique live album was recorded in 1990 at the Milton Keynes Bowl and saw the cute singer performing songs on his Sound+Vision tour. This gig was the first leg of his return to Europe so found him full of energy and vitality and turning in superb tunes like 'Rebel Rebel', 'Ashes to Ashes' and 'Life on Mars'. All of this was in front of a massive 60,000-plus crowd and it still makes for spine-tingling listening all the years later.

Review: What can really be said about David Bowie that hasn't already been said about David Bowie? Throwing caution to the wind, let's try this: The Man Who Fell To Earth wasn't just a musical titan and visionary. He belonged to a small club of artists who could never be satisfied simply releasing good music. Nor was the fact they influenced generation after generation reason to rest on laurels.

Instead, along with the likes of Bjork and Massive Attack, Bowie created entire worlds for his work to exist in. Places we step into through portals and lose ourselves exploring. Records, movies, artwork, fashion, videos, books, these different mediums combine to offer a universe waiting to be found. Transition: On Air 1967-1971, a series of radio appearances, offers an extended opportunity to spend time in the formative days of that galaxy-building.

Review: This extra EP came as part of a follow-up box set released in the November of the same year that David Bowie released The Next Day, his post-ironic album that cemented the starman's return to the limelight after a mild heart attack in 2004. Almost a decade of recovery and recording went into the album; this tidbit of outtakes and rarities from the album features everything from a collaboration with Steve Reich and James Murphy (LCD Soundsystem) to a new version of 'I'd Rather Be High'.

Review: This is one of the very many classic David Bowie broadcasts out there. It was recorded on his Hours tour to support his 21st studio album of the same name, and was the last he did for the EMI sub-label. It was the first full album to be made available by a major artist for full internet download, a full two weeks before the physical release. The album makes use of many instruments and took Bowie away from electronica. Guitarist Page Hamilton played in the tour as did Mark Plati on lead and rhythm guitars, Gail Ann Dorsey on bass guitar, Sterling Campbell on drums, and Mike Garson on keyboards. This set was recorded in December 1999 at the London Astoria for FM broadcast.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Heroes Just For One Day is a superb document of just how extraordinary David Bowie was in the live arena. In 1990 he was taking new paths to rejuvenate his creativity and before he embarked on it fully he headed out on his 1990 Sound+Vision Tour which was to be one final goodbye to many of his most famous back catalogue hits. It's a superb swan song that was captured in all its glory and is now presented here on multicoloured marble vinyl. As far as greatest hits go, it's as great as they get.