David Bowie 1987-08-02 East Rutherford ,Giants Stadium (off master 1) – SQ -8

David Bowie 1987-08-02 East Rutherford ,Giants Stadium (off master 1) - SQ -8

David Bowie 1987-08-02 East Rutherford ,Giants Stadium (off master 1).
Sound Quality Rating

01 – Crowd – idiots
02 – Purple Haze Intro.flac
03 – Guitar IntroN.flac
04 – Up The Hill Backwards.flac
05 – Glass Spider.flac
06 – Up The Hill Backwards (Reprise).flac
07 – Day In Day Out.flac
08 – Bang Bang.flac
09 – Absolute Beginners.flac
10 – Loving The Alien.flac
11 – China Girl.flac
12 – Rebel Rebel (spliced/auto tape flip).flac
13 – Fashion.flac
14 – Scary Monsters.flac
15 – All The Madmen.flac
16 – Never Let Me Down.flac
17 – Big Brother.flac
18 – 87 And Cry.flac
19 – “Heroes”.flac
20 – Sons Of The Silent AgeNEW.flac
21 – Time Will Crawl.flac
22 – Band Introductions.flac
23 – Young Americans.flac
24 – Beat Of Your Drum.flac
25 – The Jean Genie
26 – Let’s Dance.flac
27 – Fame.flac
28 – Encore Break.flac
29 – Time.flac
30 – Blue Jean.flac
31 – Modern Love.flac

Label : No label
Audio Source : Audience recording
Lineage : Off Master Tape – AIWA Recorder stereo w/built in stereo microphone
Taper: ???
Recording Location:
Total running time : 2:15:31
Sound Quality : noise ,dull ,but still good listened to
Attendance : 7.000
Artwork : no

Description: Decent sounding show from the Glass Spider Tour, from my own master tape, recorded from the field in front of the speaker stacks about 3 rows back by my friend BR. To my knowledge the only recording of this show in circulation. I had uploaded this onto another site a few months back, but it had clipping issues from my own lack of understanding of audacity. This version fixes that and applies a slight speed correct which assists due to the age of the tape.

Being a New Englander, we got tickets for this show through a broker in CT, back in the “snail mail days” and had them sent up. We trekked down and spent the 3 days in NJ around the 2 shows on the 2nd and 3rd, driving in a friends Oldsmobile Omega.

The show itself was my first Bowie experience, being a big fan one of my fondest memories. The Glass Spider Tour now is well documented as being a hiccup in Bowie’s career, but it’s safe to say this show was one of the most anticipated of the North American leg, with Rolling Stone writing their tour review based on this show.

The recording is complete with a splicing of Rebel Rebel due to a tape flip, and 2 pauses during Sons Of The Silent Age which were seconds long each. The first track gives a good impression of the pre-show, I’ve called it “crowd/idiots” because my friend had the inevitable drunk guy nearby, fortunately he only shows up a couple of times throughout the show and when he does you will know it. I’ve tracked it easily so you can delete that track it’s here for completists.

I’ve had a couple of requests for this show so to those who have asked please enjoy it. I am hopeful that a better source surfaces someday, but for now this will suffice. Blackout.

David Bowie Tour band 1987 – The Glass Spider Tour
David Bowie – vocals, guitar
Peter Frampton – guitar, vocals
Carlos Alomar – guitar, backing vocals, music director
Carmine Rojas – bass guitar
Alan Childs – drums
Erdal Kızılçay – keyboards, trumpet, congas, violin, backing vocals
Richard Cottle – keyboards, saxophone, tambourine, backing vocals

Tour dancers
Melissa Hurley
Constance Marie
Spazz Attack (Craig Allen Rothwell)
Viktor Manoel
Stephen Nichols
Toni Basil (choreography)

Tour design
Allen Branton – Lighting design
Mark Ravitz – Set design
Christine Strand – Video director

FLASHBACK: David Bowie’s 1987 ‘Glass Spider’ Tour Was ‘Colorful, Vulgar, Dreamlike’

David Bowie was a consummate entertainer, and his enthusiasm for his live stage shows came through in this ET flashback, as the rockstar prepared to launch his 1987 Glass Spider Tour.

“I try and do something I want to go and see really, that’s the essence of whatever I do,” Bowie told ET at the time. “This particular tour, for instance, I’ve really tried to put together all the elements, everything that I’ve been fascinated [with] in theater and rock, ever since the beginning of my career.”

WATCH: David Bowie Dies at 69: Stars Share Touching Tributes

The worldwide tour, in support of Bowie’s album Never Let Me Down, was a massive stage production, which included appearances by guitarist Peter Frampton and choreography by Toni Basil. The set, described at the time as the “largest touring set ever” was designed to look like a giant spider.

“It looks like the kind of show I really want to go and see myself. It’s fast, colorful, vulgar, loud, subtle, quiet, dreamlike. I mean, it has so many different qualities to it,” the singer, then 40, said before the first show.

Bowie conceived the tour as a theatrical stage show, including spoken-word introductions to songs, vignettes, videos, and props.

“I’m not really good at getting up there and singing a couple songs,” he said, admitting that he was “excited and nervous” to launch the tour. “I really like to make a piece of theater out of it.”

FLASHBACK: David Bowie Said Fatherhood ‘Helped Me Grow Up’ in 1987

Bowie died on Sunday at 69 after quietly battling cancer for 18 months. His son, Moon director Duncan Jones, confirmed the news on Twitter, posting: “Very sorry and sad to say it’s true. I’ll be offline for a while. Love to all.”

The singer never publicly acknowledged his illness, but released his final album, Blackstar, on Friday, his 69th birthday. On Tuesday, Billboard reported that Blackstar was already on its way to becoming Bowie’s first-ever No. 1 album.

Born David Robert Jones, Bowie is survived by his wife of 23 years, supermodel Iman; his 15-year-old daughter, Alexandria Jones; and his 44-year-old son, Duncan.

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The Glass Spider Tour Boek part 1

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The Glass Spider Tour Boek part 2

 

NEW YORK TIMES

Overkill reigns in David Bowie’s latest stage show, the Glass Spider Tour, which played its first American date Thursday at Veterans Stadium here and goes to Giants Stadium in New Jersey on Sunday and Monday. The two-and-a-half-hour set frequently looks far different from a standard rock concert, as Mr. Bowie has been promising. But when it does, in some of its most ambitious numbers, it often looks just plain silly.

The production calls for five dancers along with Mr. Bowie and his six-man band, performing under (and at one point, atop) the canopy of a giant “spider” with eight lighted legs, moving jaws and a head lighted like a jukebox – a superbly flexible set. There are film projections, props and performance-art-style bits with spoken words, along with such standard stadium effects as giant video screens; Mr. Bowie even “flies.” The show is spectacular, but too often it’s spectacular for its misjudgments.

Mr. Bowie is clearly trying to do something extraordinary. The set opens with the Kronos Quartet’s recording of Jimi Hendrix’s “Purple Haze” – an example of the high culture-mass culture combination Mr. Bowie is after – and continues with his song “Up the Hill Backwards,” which declares, “It’s got nothing to do with you/If one can grasp it.”

Indeed, long stretches have nothing to do with crowd-pleasing. Although the current band plays more conventional, big-beat rock than most of Mr. Bowie’s touring outfits (complete with hard-rock guitar solos by Peter Frampton), the set plays down hits in favor of bleaker songs about the clash of cultures (“Loving the Alien”), totalitarianism (“Big Brother,” “87 and Cry”) and utter alienation (“Scary Monsters,” “Sons of the Silent Age”). The set is also weighted toward Mr. Bowie’s dramatic ballads (“Absolute Beginners,” “Time”) rather than his rockers.

Mr. Bowie probably hoped to merge his most nightmarish lyrics with dreamlike dancing for an eerie, unsettling show. The dancers run, jump and tumble around the stage (and around Mr. Bowie), enacting shoving matches and dispensing repetitive gestures – a man swinging a baseball bat, group gestures like sign language – that suggest a half-baked version of the choreographic theater of Pina Bausch. Early in the show, “Day-In, Day-Out,” with dancers on three stories of scaffolding, promises a dizzying overload of visual activity.

But for all the energy the dancers bring, the choreography fails. It’s by Toni Basil, whose 1970’s troupe, the Lockers, brought the robotic motion and acrobatics of street dancing to television. Over the last decade, however, moves that seemed startling have become commonplace – and instead of deepening Mr. Bowie’s songs, the hair-flinging, shoulder-twitching and rubber-robot routines tame them. “Dancing With the Big Boys” looked like an outtake from the movie “Flashdance”; a line from that song, “This can be embarrassing,” was all too appropriate.

In “Fashion,” the dancers gang up on Mr. Bowie, pushing him around and even tossing him head over heels. The number could speak for the show itself, which puts Mr. Bowie’s music far too much at the mercy of its staging.
 

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