David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

buy the motion picture soundtrack and Bowie At The Beep and you'll have ziggnificant better versions

Read Simon Goddard's 'Bowie Odyssey 71 & 72' for the great story of this brilliant records' genesis, recording and release. You'll not be disappointed.

I bought a German pressing of this
record with catalog number on back cover: LSP 4702 and (Boxed) 26.21089 and (Boxed) AO
On labels: A side: LSP 4702 (28.21089)APRS6814 B side: LSP 4702 (28.21089)APRS6815.
Matrix / Runout (Runout, side A, stamped): LSP-4702 - A
Matrix / Runout (Runout, side B, stamped): L SP-4702 - B
No gatefold sleeve. I can't find this version in the list, is it a fake?

I got this exact press, but mine has B1V / BIV in the runout.

really love this album, good story/ development from beginning to end with groovy melodies and guitars. the odd dodgy track that starts good but become a little tiring but ofc can be excused, i probably just don't get it yet

When David Bowie unleashed Ziggy Stardust fifty years ago (1972), it felt like the planet shifted on its axis. The 60's, great as they were, were over. With Ziggy's arrival, the new decade kicked into high gear. Fun times!

"You're not alone", "You're wonderful". Bowie no doubt saved lives with these lyrics. Indeed, what's not to like about extending love and acceptance to the lonely and different? His "look" was amazing, his sounds were a pure adrenaline rush of catchy riffs and choruses. Nothing like it had ever been seen or heard before.

Eventually David would experiment with other types of music. He was a notable "tastemaker", speaking well of artists he ired in interviews, which sent us all scampering to check them out. Often he would help raise their profile by producing or writing for them, which was very generous. Even when he would borrow an idea and build on it, he would acknowledge its origin. Out of all his fellow-rockers, Bowie had the most perfect 1970's - never planting a foot wrong. He aced the decade with one masterpiece album after another. I will add that most of his rivals were a songwriting team (Jagger-Richards, Lennon-McCartney), while David mainly did it all himself. For innovation and variety, Bowie stands alone at the head of the 70's class, though I continue enjoying everything he ever did.

It's always intrigued me that Bowie and Elvis Presley were both born on January 8th. The two great RCA superstars, singers, actors, and master showmen. What to speak of influencers.

And so, in a better world where he would've turned 75 today, I celebrate the life and career of my favorite artist and my favorite number one album of all time.

The fifth studio album is Bowie's definitive commercial breakthrough, offering a focused irresistible set of songs coping about an androgynous bisexual alien ("Moonage daydream") performing a suicide parable-like mission on a soon to collapse planet Earth ("Five years") in which he assimilates the earthlings' cultural features from love ("Soul love") to mass appeal allure ("Starman", "Star") utilising music as a crucial medium for communication and mutual identification ("Lady Stardust") but also sexual fulfillment ("Hang on to yourself"), questioning if this consuming lifestyle is worth ("Suffragette city") and ending to self destruct in the artificiality and futility of the path the alien chose ("Ziggy Stardust", "Rock'n'roll suicide"). This is not a concept album, neither a rock opera, as the overall will of making this character's epopee fit with previously recorded tracks only vaguely emerges in the final product. That said, Ziggy Stardust, this smart western version of japanese kabuki theatre figures, is the only fully succeeded Bowie's character, so much that he risked of confusing his own identity in it, till that infamous Hammersmith Odeon concert on July 3 1973 in which David killed Ziggy. We can also point out that the forced tale behind this record is not that original, as a messianic catalyzer destined to self destruction for the salvage of mankind has permeated our civilization for at least 2000 years and in rock music it's just what The Who's Tommy did a couple of years before the Bowie's album release. So, though the album lyrics work beautifully, it's in music that this record is relevant, having Bowie contrived an exciting and, by then, futuristic form of proto punk or at least garage rock enlighted with the elegance and pomposity of the rising glam rock, cleverly blending all his diverse influences, not only Velvet Underground, Marc Bolan, Iggy Pop, Elton John or Mott the Hoople but also confirming his own musical language already fully matured on the precedent lp "Hunky Dory". 5 stars out of 5.

My version runout matrix seems to be another variation:

Side 1 - stamped: BGBS 0864-1E , etched: B2AAN
Side 2 - stamped: BGBS 0865-2E , etched: A6J

Hi, I have another version of this release:

Runout matrix:

Side 1 - stamped: BGBS 0864 -1E , etched: B2 AA1 (with the "1" being a Roman Numeral "1")
Side 2 - stamped: BGBS 0865 - 2E, etched: A4S

No Main Man logo.

Ok, so I own a 1E/1E 1st UK and a 4E/6E UK with the main man credit on the label but NOT the sleeve. This is the verdict: Super crisp soundstage on the 6E/4E with a punchy bottom and excellent highs. The cymbals come through very well on this pressing vs the 1E/1E which is more creamy and muted. It’s really in the ear of the beholder to which is better or which you may prefer. The forum chatter primarily rate the 4E/6E vintage early UK press as the best pressing for this landmark lp but the 1st UK is also very good. It’s just very different. Almost as if a light veil is over your speakers when listening to the 1E. Pull off the veil and you have the 4E. That is the best way to describe it.