David Bowie – Sound + Vision
Tracklist
Sound + Vision I | |||
CD1-1 | Space Oddity (Original Demo) | 5:07 | |
CD1-2 | Wild-Eyed Boy From Freecloud (B-Side Version) | 4:48 | |
CD1-3 | The Prettiest Star (Single Version) | 3:09 | |
CD1-4 | London Bye Ta-Ta | 2:33 | |
CD1-5 | Black Country Rock | 3:31 | |
CD1-6 | The Man Who Sold The World | 3:54 | |
CD1-7 | The Bewlay Brothers | 5:20 | |
CD1-8 | Changes | 3:33 | |
CD1-9 | Round And Round | 2:39 | |
CD1-10 | Moonage Daydream | 4:37 | |
CD1-11 | John, I'm Only Dancing | 2:41 | |
CD1-12 | Drive In Saturday | 4:27 | |
CD1-13 | Panic In Detroit | 4:23 | |
CD1-14 | Ziggy Stardust (Live) | 3:14 | |
CD1-15 | White Light / White Heat (Live) | 3:57 | |
CD1-16 | Rock 'N' Roll Suicide (Live) | 4:29 | |
Sound + Vision II | |||
CD2-1 | Anyway, Anyhow, Anywhere | 3:06 | |
CD2-2 | Sorrow | 2:53 | |
CD2-3 | Don't Bring Me Down | 2:05 | |
CD2-4 | 1984 / Dodo | 5:27 | |
CD2-5 | Big Brother | 3:18 | |
CD2-6 | Rebel Rebel (Single Version) | 2:58 | |
CD2-7 | Suffragette City (Live) | 3:48 | |
CD2-8 | Watch That Man (Live) | 5:05 | |
CD2-9 | Cracked Actor (Live) | 3:28 | |
CD2-10 | Young Americans | 5:10 | |
CD2-11 | Fascination | 5:43 | |
CD2-12 | After Today | 3:47 | |
CD2-13 | It's Hard To Be A Saint In The City | 3:46 | |
CD2-14 | TVC15 | 5:29 | |
CD2-15 | Wild Is The Wind | 5:56 | |
Sound + Vision III | |||
CD3-1 | Sound And Vision | 3:02 | |
CD3-2 | Be My Wife | 2:55 | |
CD3-3 | Speed Of Life | 2:45 | |
CD3-4 | Helden (1989 Remix) | 3:37 | |
CD3-5 | Joe The Lion | 3:05 | |
CD3-6 | Sons Of The Silent Age | 3:17 | |
CD3-7 | Station To Station (Live) | 8:48 | |
CD3-8 | Warszawa (Live) | 6:50 | |
CD3-9 | Breaking Glass (Live) | 3:34 | |
CD3-10 | Red Sails | 3:42 | |
CD3-11 | Look Back In Anger | 3:05 | |
CD3-12 | Boys Keep Swinging | 3:16 | |
CD3-13 | Up The Hill Backwards | 3:13 | |
CD3-14 | Kingdom Come | 3:42 | |
CD3-15 | Ashes To Ashes | 4:22 | |
Sound + Vision Plus | |||
CDV-Audio1 | John, I'm Only Dancing (Live) | 2:40 | |
CDV-Audio2 | Changes (Live) | 3:18 | |
CDV-Audio3 | The Supermen (Live) | 2:44 | |
CDV-Video | Ashes To Ashes | 3:34 |
Companies, etc.
- Licensed From – BMG
- Marketed By – Rykodisc
- Manufactured By – Rykodisc
- Phonographic Copyright ℗ – Jones Music America
- Phonographic Copyright ℗ – MainMan S.A.
- Phonographic Copyright ℗ – RCA Records
- Phonographic Copyright ℗ – Jones Music
- Phonographic Copyright ℗ – MainMan
- Copyright © – Rykodisc
- Published By – TRO-Essex Music International, Inc.
- Published By – Design Music Ltd.
- Published By – Carlin Music
- Published By – Red iral Music
- Published By – Fleur Music
- Published By – Jones Music America
- Published By – Isalee Music
- Published By – Oakfield Avenue Music Ltd.
- Published By – Screen Gems-EMI Music Inc.
- Published By – Towser Tunes
- Published By – Grand Canyon Music Inc.
- Published By – Dunmo Music, Inc. Publishing Co. Ltd.
- Published By – MainMan Ltd.
- Published By – SBK April Music Inc.
- Published By – Uncle Ronnie's Music Co. Inc.
- Published By – Bruce Springsteen
- Published By – Chappell & Co.
- Published By – E.G. Music, Inc.
- Published By – Double Exposure Music, Inc.
- Published By – Bewlay Bros. Music
- Recorded At – Trident Studios
- Recorded At – Advision Studios
- Recorded At – Hammersmith Odeon
- Recorded At – Studio Hérouville
- Recorded At – Olympic Studios
- Recorded At – Island Studios
- Recorded At – Studio L Ludolf
- Recorded At – Tower Theater
- Recorded At – Sigma Sound Studios
- Recorded At – Cherokee Studios
- Recorded At – Hansa Tonstudios
- Recorded At – The Spectrum, Philadelphia
- Recorded At – Mountain Studios
- Recorded At – Power Station
- Recorded At – Boston Music Hall
- Mastered At – Northeastern Digital
- Pressed By – PDO, USA
- Glass Mastered At – PDO, USA
- Designed At – Reiner Design Consultants, Inc.
- Filmed At – Beachy Head
Credits
- Art Direction, Design – Roger Gorman And Associates*
- Backing Vocals – Tony Visconti (tracks: CD3-11 to CD3-15, CDV-Video)
- Bass – Trevor Bolder (tracks: CD1-7 to CD2-4, CDV-Audio1 to CDV-Audio3)
- Compilation Producer – Jeff Rougvie
- Drums – Tony Newman (tracks: CD2-5, CD2-7 to CD2-9)
- Effects [Guitar Treatments] – Brian Eno (tracks: CD3-4 to CD3-6, CD3-10)
- Guitar – Robert Fripp (tracks: CD3-13 to CD3-15, CDV-Video)
- Keyboards – Mike Garson (tracks: CD1-14 to CD1-16, CD2-5, CD2-7 to CD2-9)
- Liner Notes – Kurt Loder
- Mastered By [Assistant] – Jonathan Wyner
- Mastered By [Digital] – Dr. Toby Mountain*
- Percussion – Pablo Rosario (tracks: CD2-7 to CD2-12)
- Photography By – Steve Shapiro*
- Photography By [Main Cover] – Greg Gorman
- Piano – Sean Mayes (tracks: CD3-7 to CD3-11)
- Producer – Tony Visconti (tracks: CD1-2 to CD1-6, CD1-14 to CD1-16, CD2-7 to CD2-12, CD3-1 to CD3-15, CDV-Video)
- Saxophone – Ken Fordham (tracks: CD1-11 to CD2-1)
- Synthesizer – Brian Eno (tracks: CD3-4 to CD3-6, CD3-10, CD3-11)
- Violin – Simon House (tracks: CD3-7, CD3-8, CD3-10, CD3-12)
- Vocals – David Bowie (tracks: CD1-2, CD1-5 to CD3-2, CD3-4 to CDV-Video)
- Written-By – David Bowie (tracks: CD1-1 to CD1-8, CD1-10 to CD1-14, CD1-16, CD2-4 to CD2-12, CD2-14, CD3-1 to CD3-13, CD3-15 to CDV-Video)
Notes
4xCD retrospective box set in an LP sized case; each CD is in a separate jewel case (disc 4 in a slimline case).
Contains also a booklet.
Distinguished from Sound + Vision by "MADE IN USA BY PDO" hub stamp.
It's not sure that John Lodge and Marc Bolan are really playing on track CD1-4.
They are credited with a '?' in the booklet.
Track CD1-1 recorded in David's bedroom, 1969.
Tracks CD1-3 & CD1-4 recorded 1/70.
Tracks CD1-5 & CD1-6 recorded at Trident and Advision Studios, London, 1970.
Tracks CD1-7 & CD1-8 recorded at Trident Studios, London, 7/71.
Tracks CD1-9 & CD1-10 recorded at Trident Studios, London, 1971.
Tracks CD1-11 to CD1-13 recorded at Trident Studios, London, 1972.
Tracks CD1-14 to CD1-16 recorded live at the Hammersmith Odeon, July 7th, 1973.
Tracks CD2-1 to CD2-3 recorded at the Chateau d'Heureville, , 1973.
Track CD2-4 recorded at Trident Studios, London, 11/73.
Track CD2-5 recorded at Olympic Studios (London), Island Studios (London) and at Studio L Ludolf (Holland).
Track CD2-6 recorded at Studio L Ludolf, Holland, 1973.
Tracks CD2-7 to CD2-9 recorded live at the Tower Theatre, Philadelphia, July 12th 1974.
Tracks CD2-10 to CD2-12 recorded at Sigma Sound, Philadelphia, 1974.
Tracks CD2-13 to CD2-15 recorded at Cherokee Studios, Hollywood, 1975.
Tracks CD3-1 to CD3-3 recorded at Hansa Studios, Berlin, 1976.
Tracks CD3-4 to CD3-6 recorded at Hansa Studios, Berlin, 1977.
Tracks CD3-7 to CD3-9 recorded live at the Philadelphia Spectrum, May 28-29 1978.
Tracks CD3-10 to CD3-12 recorded at Mountain Studios, Montreux, Switzerland, 1978.
Tracks CD3-13 to CD3-15 recorded at the Power Station, NYC, 1980.
Tracks CDV-Audio1 to CDV-Audio3 recorded live at the Music Hall, Boston, October 1st 1972.
© 1989 Rykodisc
℗ 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1983, 1987 Jones Music America / MainMan S A (except "White Light / White Heat", "Ziggy Stardust" and "Rock 'N' Roll Suicide" ℗ 1983 RCA Records. Manufactured under exclusive license from the RCA Records music label of BMG).
Manufactured and Marketed by Rykodisc under exclusive license.
Manufactured in the USA.
Contains also a booklet.
Distinguished from Sound + Vision by "MADE IN USA BY PDO" hub stamp.
It's not sure that John Lodge and Marc Bolan are really playing on track CD1-4.
They are credited with a '?' in the booklet.
Track CD1-1 recorded in David's bedroom, 1969.
Tracks CD1-3 & CD1-4 recorded 1/70.
Tracks CD1-5 & CD1-6 recorded at Trident and Advision Studios, London, 1970.
Tracks CD1-7 & CD1-8 recorded at Trident Studios, London, 7/71.
Tracks CD1-9 & CD1-10 recorded at Trident Studios, London, 1971.
Tracks CD1-11 to CD1-13 recorded at Trident Studios, London, 1972.
Tracks CD1-14 to CD1-16 recorded live at the Hammersmith Odeon, July 7th, 1973.
Tracks CD2-1 to CD2-3 recorded at the Chateau d'Heureville, , 1973.
Track CD2-4 recorded at Trident Studios, London, 11/73.
Track CD2-5 recorded at Olympic Studios (London), Island Studios (London) and at Studio L Ludolf (Holland).
Track CD2-6 recorded at Studio L Ludolf, Holland, 1973.
Tracks CD2-7 to CD2-9 recorded live at the Tower Theatre, Philadelphia, July 12th 1974.
Tracks CD2-10 to CD2-12 recorded at Sigma Sound, Philadelphia, 1974.
Tracks CD2-13 to CD2-15 recorded at Cherokee Studios, Hollywood, 1975.
Tracks CD3-1 to CD3-3 recorded at Hansa Studios, Berlin, 1976.
Tracks CD3-4 to CD3-6 recorded at Hansa Studios, Berlin, 1977.
Tracks CD3-7 to CD3-9 recorded live at the Philadelphia Spectrum, May 28-29 1978.
Tracks CD3-10 to CD3-12 recorded at Mountain Studios, Montreux, Switzerland, 1978.
Tracks CD3-13 to CD3-15 recorded at the Power Station, NYC, 1980.
Tracks CDV-Audio1 to CDV-Audio3 recorded live at the Music Hall, Boston, October 1st 1972.
© 1989 Rykodisc
℗ 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1983, 1987 Jones Music America / MainMan S A (except "White Light / White Heat", "Ziggy Stardust" and "Rock 'N' Roll Suicide" ℗ 1983 RCA Records. Manufactured under exclusive license from the RCA Records music label of BMG).
Manufactured and Marketed by Rykodisc under exclusive license.
Manufactured in the USA.
Barcode and Other Identifiers
- Barcode: 0 14431-0120-2 0
- SPARS Code: AAD
- Rights Society: ASCAP
- Rights Society: PRS
- Rights Society: BMI
- Matrix / Runout (CD1, Variant 1): RCD90120 02@ AG
- Matrix / Runout (CD2, Variant 1): RCD90121 02@ AI
- Matrix / Runout (CD3, Variant 1): RCD90122 02@ H
- Matrix / Runout (CDV, Variant 1; mirrored): W.O.# 1269-8
- Matrix / Runout (CD1, Variant 2): RCD90120 02@ A0
- Matrix / Runout (CD2, Variant 2): RCD90121 02@ EK
- Matrix / Runout (CD3, Variant 2): RCD90122 02@ A
- Matrix / Runout (CDV, Variant 2; mirrored): W.O.# 1269T-3
- Matrix / Runout (CD1, Variant 3): RCD90120 02@ AY
- Matrix / Runout (CD2, Variant 3): RCD90121 02@ BG
- Matrix / Runout (CD3, Variant 3): RCD90122 02@ A
- Matrix / Runout (CDV, Variant 3; mirrored): W.O.# 1269-8
- Matrix / Runout (CD1, Variant 4): RCD90120 02@ BU
- Matrix / Runout (CD2, Variant 4): RCD90121 03% B
- Matrix / Runout (CD3, Variant 4): RCD90122 02@ AO
- Matrix / Runout (CDV, Variant 4; mirrored): W.O.# 1269T-3
- Matrix / Runout (CD1, Variant 5): RCD90120 02@ BB
- Matrix / Runout (CD2, Variant 5): RCD90121 02@ BM
- Matrix / Runout (CD3, Variant 5): RCD90122 02@ I
- Matrix / Runout (CDV, Variant 5; mirrored): W.O.# 1269-8
- Matrix / Runout (CD1, Variant 6): RCD90120 02@ BB
- Matrix / Runout (CD2, Variant 6): RCD90121 02@ BE
- Matrix / Runout (CD3, Variant 6): RCD90122 02@ S
- Matrix / Runout (CDV, Variant 6; mirrored): W.O.# 1269-7
- Matrix / Runout (CD1, Variant 7): RCD90120 02@ CA
- Matrix / Runout (CD2, Variant 7): RCD90121 04! B
- Matrix / Runout (CD3, Variant 7): RCD90122 02@ AO
- Matrix / Runout (CDV, Variant 7, mirrored): W.O.#1269T-3
- Matrix / Runout (CD1, Variant 8): RCD90120 02@ AP
- Matrix / Runout (CD2, Variant 8): RCD90121 02@ BK
- Matrix / Runout (CD3, Variant 8): RCD90122 02@ AD
- Matrix / Runout (CDV, Variant 8, mirrored): W.O. # 1269-8
- Matrix / Runout (CD1, Variant 9): RCD90120 02@ AO
- Matrix / Runout (CD2, Variant 9): RCD90121 02@ AX
- Matrix / Runout (CD3, Variant 9): RCD90122 02@ A
- Matrix / Runout (CDV, Variant 9, mirrored): W.O.#1269T-3
- Other (CD1, CD2, CD3; stamped in hub): MADE IN USA BY PDO
- Other (CD1 Cat#): RCD 90120
- Other (CD2 Cat#): RCD 90121
- Other (CD3 Cat#): RCD 90122
- Other (CDV Cat#): RCDV-1018
Other Versions (5 of 21)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Sound + Vision (6×LP, Compilation, Clear, DMM, Box Set, ) | Ryko Analogue | RALP 0120/21/22-2 | US | 1989 | |||
New Submission
|
Sound + Vision (3×Cassette, Compilation, Box Set) | Ryko Analogue | RACS 0120-2 / 21 / 22-2 | US | 1989 | ||
Recently Edited
|
Sound + Vision (3×CD, Compilation, CDV, 5", EP, NTSC, Box Set, Limited Edition, Numbered, Wooden) | Rykodisc | RCD 90120, RCD 90121, RCD 90122, RCDV 1018 | US | 1989 | ||
New Submission
|
Sound + Vision (6×LP, Compilation, Test Pressing, DMM) | Ryko Analogue | RALP-90120 / 90121 / 90122 | US | 1989 | ||
Recently Edited
|
Sound + Vision (3×CD, Compilation, CDV, 5", EP, NTSC, Box Set, ) | Rykodisc | RCD 90120/21/22 | US | 1989 |
Recommendations
-
2018 USA & EuropeLP, Album, Record Store Day, Limited Edition
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2020 WorldwideLP, Album, Record Store Day, Limited Edition, Stereo
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2020 WorldwideLP, Album, Record Store Day, Limited Edition, Stereo
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2002 EuropeAlbum, Reissue
Reviews
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Edited one year agoTray completely disintegrated upon releasing from its boxed slumber, might need to find some small plastics workshop that can make a replacement or something
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Edited one year ago"The differences to be heard in contrast to the original RCA CDs are in no way subtle or minor.
These new discs sound alive and three-dimensional - the RCA discs sound like a cheap AM radio in comparison.
Instruments that were inaudible on the RCA discs are clearly heard here,
as are bits of echo and other effects totally absent from the original LP releases."
http://www.5years.com/ryko.htm
There's a guy on Amazon somewhere who said he 'laughed' at people who speak of 'THE RCA Version'.
I now know wot he meant.
As for the 'Ryko Version' being too tart etc ?
Which one are you talking about ??
There's a set of gold ones with A Different Master.
They are even more expensive......
One of the recent vinyl reissues is supposedly a direct copy of the original UK RCA pressing.
Why don't they just do that for all of them again ?
Or is that already pencilled in ??
-
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Edited one year agoWhat no one has mentioned is that while it was v lovely looking new.
The inside tray that holds the CD's in place is the first thing to go.
'sealed'
Oh Yeah......
The tray/ for the discs that holds them all in place.
I've bought two of these and both 'rattled'.
The thing disintegrates with time ?
Or it's that fragile it falls apart in the post.
oh yeah
IF
Anyone has just the tray part,
I'm looking for two of them......
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Edited 3 years agoRev 6/30/21a
The following refers to the circa-1990 Rykodisc CD-releases of Heroes and Sound + Vision, which I obtained in 2021 and were in excellent condition, although CDs don't have to be in very good condition to play perfectly due to the error-correction system built into the CD record-playback system. The high end on these releases is detailed, liquid, and open (although I wouldn't call it audiophile-grade, due to the quality of the analog masters, which were never intended to be audiophile-grade). So, I suspect that they were digitized with a 1st-gen (16-bit, 44.1 KHz) ADC (a Sony PCM-1610) with Apogee aftermarket input filters, which was the first commercially-available approach to obtain 16-bit, 44.1 KHz digital recordings with a clean high end and good spatial characteristics. (The PCM-1610's stock input filters had phase nonlinearities, which produced recordings with a dry/smeared high end, and mediocre spaciousness and imaging.) Chesky had a proprietary 24-bit ADC from the dawn of the digital era. The Apogee filters were introduced in about September of 1985 and were very popular among recording engineers for the detailed, liquid high end and good spaciousness and imaging of CDs made with them. 1st-gen decks were replaced by various commercially-available systems with high-res oversampling ADCs in the form of rack-mount components, hybrid circuits, or chips. Because oversampling ADCs sample at a high frequency, they don't require complex active input filters such as Apogees, and instead use simple ive filters. 20-bit rack-mount ADCs were introduced first, in 1993, and 24-bit units were introduced in 1997. There are now 32-bit ADCs, which some recording engineers claim are necessary to obtain acceptable sound quality from digital mixing.
The bottom line is that the sound quality of the circa-1990 Rykodisc Bowie CDs is what you would expect of transparent 16-bit digital copies of the original stereo analog masters when they were all less than 20 years old (which seems to be the point where 15 ips masters start becoming noticeably faded, if they're well preserved) - it's clean, detailed, rich, and has good spatial characteristics. According to Jeff Rougvie of Rykodisc in 2015, quoted in the The Ziggy Stardust Companion at 5years.com, "Bowie himself listened to and approved our original remasters - and he liked them a lot. So much so, that after the deal expired his office would call and ask if we had any copies left, as he preferred ours to the [later] EMI issues."
When these CDs were initially released, mass-market CD players in general still couldn't do justice to the majority of CDs. I gave up on CDs from 2004-2016 because I couldn't stand "CD sound," a subtle but irritating artificiality, sheen, and blurring, which in about 2005 was identified as pre-ringing associated with band-ripple in the digital interpolation filters (DIFs) on DAC-chips (This type of pre-ringing is limited to digital filters. Google "Julian Dunn anti-aliasing" for details). [1] Pre-ringing was soon eliminated, although it might have taken several years for the best DAC-chips to filter down to mass-market players/DACs.
In 2016 I accidentally listened closely to a CD being played on the radio, and realized that there was no "CD sound." So I investigated and learned that "CD sound" had been identified as pre-ringing, and eliminated. So, in 2018, I decided to dip my toe into the digital waters again in the form of a $100 2017 Nobsound Bluetooth 4.2 Lossless Player, which has 2010-model (9018) Sabre DACs, TI-5532 pro-audio-grade op-amps for the output stage, and an internal power transformer with a separate winding for the digital supply and each of the analog supplies (+/-15). As far as I can tell, the Nobsound has no sound of its own. Now, I love CDs, although LPs have better detail and in many cases the best recordings are reserved for LPs since it's so easy to make perfect copies of CDs. LPs are also the only way to get good copies of some older recordings.
To get the best sound quality from your system, it's important to prevent its circuitry from getting dusty, such as by periodically spraying it with compressed air, and to periodically cycle its connections to prevent oxidation from building up on them. This includes power connections, such as AC plugs and all breakers between the system and the power meter. Before flipping any breakers, shut off everything that uses a significant amount of power, and wait for the refrigerator to shut off, just to be on the safe side. In about May, when the weather and my speakers warmed up (speakers have to be warm to sound their best), I used canned air to blow the dust out of my receiver, and cycled all of the system's connections, including the receiver's internal power connectors (all of its internal signal-connections are soldered). It had been two years since I did it previously, and although I flip breakers about twice a year anyways, I had never done it as part of my system-cleaning. The improvement in sound quality was stunning, and I had to go back and correct some reviews in which I claimed that some CDs have inverted audio polarity. Now I'm convinced that essentially all CDs have the right polarity.
Notes
[1] DIFs calculate and insert extra samples between the samples from the recording which is being played, to smooth out the "staircase" waveform at the output of the DAC-chip, so that it can be completely smoothed out with a simple analog filter which doesn't introduce phase distortion. (However, being smooth isn't the same as being accurate, which is why true high-res recordings, such as 24-bit recordings which were never downsampled to 16-bits, sound better than interpolated 16-bit recordings. If you discard the extra 8 bits of detail in a 24-bit recording, you can't get it back through interpolation.) DIFs, a type of digital filter, have an inherently linear phase response, so the combination of a DIF followed by a simple linear-phase analog filter has a linear phase response. -
the compilers supposedly used a 1983 setlist as a guide (as did the superior sounding but much maligned "Golden Years"
single cd comp) and there are 15 songs from that tour on here. though it isn't really noticeable when its mixed in with all the other tracks
the 6 LP looked amazing but sadly Rykodisc's inexplicable and perverse mastering makes it unlistenable for me
and the 2003 set i bought had disc rot - clearly the universe doesn't want me to own this compilation- i take the hint! -
Does anyone know if the 1989 CD's suffer from disc-rot/bronzing the same way European CD's also manufactured by PDO tend to?
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