STAGE

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I really liked this live album while it came out some ages ago. So much better than the rather average "David Live". And for once, I would say that one of the many later releases, representing the true track list is a better choice, just thanks to this and it should be your only worry if ever you are interested in a live album of the man.

The original album was a straight cut of his last three albums to (that) date PLUS a whole Ziggy side. You might know that I am keen to this.don't you? But the sequence was rather shaky. The new 2005 release is more appropriate and closer to .reality. To my likings as well.

Some additional songs but not always great like "Alabama Song" makes it a best buy of course. My only problem would be why it was not released as such primarily (I'm not even talking about the bonus tracks which might have been a physical space problem). But we know this Bowie disease of re-re-re releasing the same work all over again. It made him rich. Fair for him. But I just HATE this habit.

Since I consider three of the albums highly represented here as masterpieces ("Ziggy", "Station To Station" and "Low") , I have always praised this live album.

David was in good shape and music was splendid. Some disappointments though. A couple of my preferred "Low" songs were not featured ("Subterraneans" and "Sound And Vision") and the three tracks from "Station" are rather cut down.

Four stars.

I don't know, why Bowie's live albums are not popular at all. May be people think he is better in studio, especially during his electronical sounds era. Who knows.

But I just wanna say, that "Stage" is PERFECT Bowie live album. It includes his period from glam -rock peak ( "Ziggy...") to the beginning of "Berlin Trylogy" ( "Low "). So, you understand, it's not easy to have songs from both very different periods in one concert. But Bowie 's doing it perfectly.

The album starts from his golden "Warszawa" , beautiful dark ambient instrumental piece from "Low"album. I don't know, where from is this song name ( it's instrumental, so no lyrics, no even idea, where from it came). I know this city very well, have been there plenty of times, and I am sure, that anyone, who ever visited this city, will confirm, that it's a most boring capitol in Europe. The song is not like that ( happily some eastern wordless vocals from studio album are changed in live version to more acceptable Bowie singing).

"Heroes"- next song, do you need my comments? Strong from very beginning, album makes very high energy atmosphere.

I honestly believe, that this live album is better, than studio albums with the same songs!The reason is strong track list and very successful music combination. You have here very rock- driven album, which combines dark ambient sounds and glam-rock. And this basical sound is perfect decision. Adrian Beliew on guitar, plus two perfect prog musicians Simon House and Roger Powell, now you know, what I 'm speaking about!

First 5-6 songs go at one breath ( I am speaking about 2005 version with some additional tracks on double CD album). To be honest, secod CD missed some energy, has few fillers, and at the end you are feeling a bit tired. But overall it's a perfect illustration of that Bowie's period. Highly recommended

Released in 1978, Stage represented quite a leap forward when compared to the rather lacklustre David Live of 1974 (ironicly they were both recorded at the same venue in Philadelphia). It was recorded after Bowie´s second work of what would become his ´Berlin Triology´ (Low - Heroes - Lodger, all coproduced with Brian Eno), when he lived in that city. It was not well received at the time. The reason may be quite simple, although annoying: the double vinyl LP had the songs in the chronologial order of release, not as they were presented on the show. The reason for such suicidal decision was never fully explained as far as I know.

I remember hearing this LP at the time and not liking it at all. However, recently I had the opportunity to get the new, remastered CD of this album. Fortunally this time they decided to release it with the correct track´s running order. It seems like a small detail, but the results are way better than on the old version. Better still: not only the sound was more balanced and improved with the new technology but there are also a couple of bonus tracks with the new package. Stage, as it is now, shows a great performer on the top of his form. Backed by a superb band that included guitarrist Carlos Alomar and Adrian Belew (plus a special appearance of ex Hawkwind´s Simon House on violin), Bowie sings with confidence a very strong repertoire.

Ok, the album´s not perfect: some of the songs are not as good as their original studio version (Statio To Station for exemple, is shorter than on the his 1976 CD of the same name). Still, the show is quite energetic and is a good display of Bowie´s tremendous versatile powers as showman, songwriter and trendsetter. It is no wonder he has inlfuenced a whole new generation in the 80´s and beyond.

Conclusion: the best Live David Bowie album I´ve ever heard. The new CD version fixed most of its old problems and I´m really glad I got it now. It is an excellent document of an era. Highly recommended.

A somewhat insignificant and throwaway live album, but definitely better in its 2005 form than in its original 1978 form. While the 2005 reissue more or less creates the sense of a full show from the "Heroes" tour (it's still a little short, though), the original version had a strange ordering of tracks that would have made it feel extremely artificial, not to mention that (according to reports; I've never actually heard the original issue) the tracks each faded out with applause. The setlist is mostly material from the previous three albums (including four instrumentals), with "Fame" thrown in for good measure (as well as a fairly horrifying atonal cover of "Alabama Song" that's so bad it actually becomes kinda neat), but it also scratches the nostalgia itch in a strange way by including a whopping five tracks from Ziggy Stardust ("Five Years," "Soul Love," "Star," "Hang Onto Yourself," "Ziggy Stardust"), with no overlaps with David Live. In the original release, these tracks made up the whole first side of the album (in the reissue, they're presented in the middle of the set, as the start of the second disc), for some reason I can't fathom; maybe the people compiling the set thought people would be more likely to buy the album if they saw Ziggy material at the top, I dunno. Anyway, these renditions are nowhere near the disasters that the renditions of Ziggy songs were on Live, but they're weirdly sterile, and presenting them all in a row makes it feel like David was going out of his way to fill the perceived need for material from the back catalogue in the most perfunctory way possible. I don't skip these tracks, but they're not the main draw of the album.

Nah, the draw of the album is the recent material, where David and his backing band (featuring none other than Adrian Belew on guitar, along with Carlos Alomar in his standard guitar role) do their best to perform these tracks in all their technophilian splendor. The original release made the weird decision to cram the album's four instrumentals ("Warszawa," "Sense of Doubt," "Speed of Life," "Art Decade") onto the third side, but hearing them in roughly their original setlist placements makes their inclusion feel less like pointless reproductions of the studio versions. Having "Warszawa" as the concert opener, in particular, just feels really classy: I wish I could have seen one of these shows, with Bowie hiding himself behind a chamberlain, blending into the ensemble until his voice pops up with the wordless sounds. "Speed of Life" feels perfectly at home with all the rest of the material, and while the idea of hearing "Sense of Doubt" and "Art Decade" live seems awfully strange, there are just enough changes to keep them from feeling redundant.

Most of the rest of the concert consists of regular material from "Heroes" and Low (as well as the aforementioned "Fame" and "Alabama Song"), where the songs are done similarly to the originals but not quite identical. These tracks all sound fine, but not especially remarkable. Where the album really picks up steam is in the final three tracks, where Bowie brings out the Station to Station material. The intensity produced by the noisy introduction of that album's title track is just breathtaking, and hearing this version in full just reaffirms to me the idea that this is one of Bowie's best songs. "Stay" and "TVC15" close out the album, and while "TVC15" doesn't have quite the same strange metallic crunch to it that made the original so fabulous, it's still lots of fun, and "Stay" confirms its place as one of the best crowd pleasers Bowie ever wrote.

I probably wouldn't recommend this for a casual fan, and I might not even recommend the original version to many fans of this era of Bowie's career, but now that the reissue is the standard version, I'd definitely recommend it to anybody who liked the last few albums. Definitely don't get it before the studio albums it covers, though.

DAVID BOWIE, one of the 'great musical explorers', had this album released in 1978, quite possibly against his will (or his knowledge). There's also video footage from gigs in Japan (and maybe Germany too) during this era of his career, floating around. Having put together a band comprising of, to name a few 'Prog' giants - Adrian Belew (lead gtr - Zappa, King Crimson, Talking Heads), Simon House (el. violin - Hawkwind, Spiral Realms) and Roger Powell (Kbds/synths - Utopia/Todd Rundgren and his own synth oriented solo ventures - oh yeah, his debut from 1973 - 'Cosmic Furnace', is quite essential for fans of Electronic-Prog....) along with the dynamic and versatile rhythm section of Dennis Davis and George Murray (drums & bass, respectively - they really are an absolutely pounding duo), many facets of Bowie's styles are covered with plenty of energy and enthusiasm. Owning the dbl LP, it groups selections from certain eras, a 'Ziggy' side, a 'funky' side, his Kraut-influenced experimental side, and the punky/pre-new wave side - that's the best way I can describe it..... and did I mention Bowie performs some of the electronic pieces on an old Chamberlin (that dinosaur keyboard which eventuated into a Mellotron..... ?) - man, Sean Mayes' thumping piano in Sense of Doubt is heavy-as-fuc...... Anyways, without a track-by-track analysis, this release captures a most extravagant and progressive period of master Bowie, with all the excitement, verve and precision of what he has to offer. Can't say no more - easy 4 stars........