David Bowie 1983-07-27 New York ,Madison Square Garden (Off Master Brian Schley) .
Sound Quality Rating
101 – “Heroes” Cuts in.flac
102 – What in the World.flac
103 – Golden Years.flac
104 – Fashion.flac
105 – Let’s Dance.flac
106 – Breaking Glass.flac
107 – Life on Mars?.flac
108 – Sorrow – Cat People (Putting Out Fire).flac
109 – China Girl.flac
110 – Scary Monsters (And Super Creeps).flac
111 – Rebel Rebel.flac
112 – White Light/White Heat.flac
113 – Station to Station.flac
114 – Cracked Actor.flac
115 – Ashes to Ashes.flac
116 – Space Oddity.flac
217 – Crowd.flac
218 – Band introduction.flac
219 – Young Americans.flac
220 – Fame.flac
221 – TVC15.flac
222 – Stay.flac
Label : No label
Audio Source : audience
Lineage : FOB Nak CM 300 > CP-4S > Sony TCD5 > Cassette Master
Taped : by Brian Schley
Total running time : 1:25:42
Sound Quality : very good. Equals record or radio apart from a slight noise and some dullness.
Attendance : 19.250
Artwork : None
Missing Tracks: : The first track “Star” and the last two tracks : “The Jean Genie” and “Modern Love”
“Ladies and gentlemen,on stage for the final triplet night this week at Madison Square Garden … “ the announcer cries in the sensationa1 was he has been doing throughout the tour. The crowds are as enthusiastic as during the last two concerts and this tape matches the other two as well. During the beginning of Space Oddity Bowie says: “I want to dedicate this to a little boy called Sean“.
Band Members :
David Bowie : lead vocals, guitar, saxophone
Earl Slick : guitar
Carlos Alomar : guitar, backing vocals
Carmine Rojas : bass guitar
Tony Thompson : drums, percussion
Dave Lebolt : keyboards, synthesizers
Steve Elson : saxophones
Stan Harrison : saxophones, woodwinds
Lenny Pickett : saxophones, woodwinds
George Simms : backing vocals
Frank Simms : backing vocals
ROCK CONCERT: DAVID BOWIE AS PERFORMANCE ARTIST
THROUGHOUT his 15-year career as a rock performer, David Bowie has worked out new modes of presentation, won new converts, then challenged them, his older fans and his own limits by confronting them with new work in a new mode.
Mr. Bowie doesn’t just make albums and do tours. In fact, he doesn’t tour much at all; his three sold-out performances at Madison Square Garden this week are his first here in more than five years. But wherever his work confronts us – on a single, an album, a selfdirected video, a film or, ideally, when he is on stage fronting a rock band – Mr. Bowie does his best to take us by surprise. He doesn’t just have a new sound or a new look, though he does always seem to have those. He also has new ideas, new slants on the most effective ways to mix sound and image in live performance, and a new set of concepts to tie everything together.
Mr. Bowie’s ”Serious Moonlight” show consists of songs from many of his albums, but it is more properly a performance piece, a single, coherent, resourceful and at times virtuosically imaginative mixed-media work. It deserves that designation as much as an extended piece by Robert Ashley or Laurie Anderson, and it is by turns subtler, more ferocious, more moving and more dazzling – intellectually and sensually – than anything the art world’s most celebrated performance artists have come up with.
The tour began in Europe, and there were early reports of some musical roughness, as well as gossip about the last-minute replacement of the lead guitarist Stevie Ray Vaughan (who played on Mr. Bowie’s current hit album and single, ”Let’s Dance”) with an earlier Bowie band regular, Earl Slick. But by the time Mr. Bowie and his musicians opened at Madison Square Garden last night, only a few musical kinks remained to be ironed out. The rhythm section of Carmine Rojas (bass) and Tony Thompson (drums), hadn’t yet found a comfortable tempo and groove for some of Mr. Bowie’s earlier songs, and there were occasional timing problems with a few of the more intricate arrangements. But these were very minor blemishes. As an evening of sound, light and image; as Mr. Bowie’s critical, conceptual gloss on his diverse body of work, and as visceral rockand-roll, the show was practically flawless.
When a rock star has been around as long as Mr. Bowie, it’s easy to chose the easy options, to give an audience what one thinks it wants, to lavish just enough imagination and care on a song or an album or a show to get by, please the fans, keep money in the bank.
But Mr. Bowie uses everything at his disposal – his knowledge of rock and rhythm-and-blues history; his training in body language through mime; his interest in the early performance art of the Dadaists and Surrealists and in William Burroughs’s ideas about manipulating psychology through association-blocks of sound and image; his stage and film acting experience; the observations of cultures and cultural styles made on his extensive travels and, one suspects, some reading in the literature of crowd psychology.
But all of this would be crassly Pavlovian if there weren’t some heart, some feeling in Mr. Bowie’s work. That’s the area he seems most concerned with at present, and in musical terms this means hard work on the elusive subtleties of feel. In the past, Mr. Bowie’s big problem was a lingering impression of coldness in his work. One sensed, or thought one sensed, a remote, disdainful, manipulative intelligence marshaling spectacular theatrical and musical epiphanies without ever feeling their effects.
And in this respect, the David Bowie of ”Serious Moonlight” is a new Bowie – relaxed, smiling, jaunty and more emphatically, physically involved in the music than ever before. In ”The Elephant Man,” Mr. Bowie impressed the drama critics by using his body to make apparent changes in his physical appearance. In his latest stage show, he is using that talent, the impact of his most enduring songs, and the wealth of knowledge and experience he has acquired to make great popular art – and, more to the point, great rock-and-roll.