David Bowie 1997-08-14 Budapest ,Pepsi Island Festival ,Sziget Festival – Outside in Budapest – (2019 Iconography) (FM).
Sound Quality Rating
01. Quicksand.flac
02. Queen Bitch.flac
03. Waiting For The Man.flac
04. The Jean Genie.flac
05. I’m Afraid Of Americans.flac
06. Battle For Britain (The Letter).flac
07. The Man Who Sold The World.flac
08. Fashion.flac
09. Seven Years In Tibet.flac
10. Stay.flac
11. Looking For Staellites.flac
12. Under Pressure.flac
13. Hallo Spaceboy.flac
14. Scary Monsters (And Super Creeps).flac
15. Little Wonder.flac
16. White Light White Heat.flac
Label : Iconography – ICON071 (2019)
Audio Source : FM Broadcast
Lineage : Unknown
Taping Gear : Unknown
Taper: Unknown
Recording Location: Unknown
Total running time : 1:22:25
Sound Quality : Excellent quality! Equals record or radio
Attendance : Unknown
Artwork : Yes
Queen bitch ;”Hi,good evening.Good to back in Budapest. Suck on this”
Waiting for the man “Sung by a man that was an influence on the song.This one.”
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Last day of the tour in Europe included in this work Hungary · Budapest show was performed as an appearance on the festival called ISLAND STUDENT FESTIVAL. Although this festival is less familiar to Japanese people, it is one of the biggest rock festures in Europe with over 1,000 artists appearing in Budapest every August. Bowie appeared on this biggest festival in Europe. Therefore, unlike the ordinary set list, it became considerably condensed. And this work is the title which recorded the live appearance to the festival on the final day of this Europe tour with the sound board.
The opening is a surprising thing that songs from “HUNKI DREE” continue two songs. The opening is “Beautiful Quicksand” as tears come out. Also surprisingly Marilyn Manson cites this “flowing sand” as the bowie’s favorite song. The festival opens with its “flowing sand”. Rather than suddenly warming up the venue suddenly with hard songs, it also draws attention to the stage composition that gradually starts to grow quietly like this. Moreover, the sound of the lyrics of “flowing sand” is wonderful. Female vocals enter the chorus, Bowie’s singing carefully spinning every single lyrics. And part of chorus “Philosophical lyrics saying” Do not overconfidence yourself, do not deceive with belief, wisdom is given if you release the death “is very heavy and resonates in my heart. And from the first half of only Akogi, along with the guitar guitarine cue, the band adds a spectacular spectacle to the songs in the second half.
And the second song is “Queen Bitch”. This is also a selection from “Hunkie Dolly”. “Drift sand” is a tribute full of respect for Velvet · Underground where the riff which is intense and impressive is impressive. Because the Bowie vocal is a mix that gets dry entirely, listening with this sound board sound source makes it possible to enjoy the splendor of Bowie’s singing. Bowie is famous as a fan of Velvet, but the third song is its cover song “Waiting For The Man”. It is a song that I’ve been playing on the stage since around 1972, but I remember feeling that I played it in 1997 with a new arrange and interpretation. A humorous guitar riff is added, a chorus called a wowwower is piled up, and it seems to get stuck in a break between guitar solos. It is an interesting arrangement. The fourth song “The Jean Genie” has an arrangement that adds the blues number to the intro and gradually changes to “The Jean Genie”. It is unusual for Bowie to sing like this de Blues, but it’s pretty fashionable so I think I wanted to make a blues album before I was alive, as if I made “Young American” in Seoul style . In “I ‘m Afraid Of Americans” the hardness hurts, the a cappella part is made in the latter half, and the rhythm is emphasized, it is techno pop style.
Here, the new song “Battle For Britain” finally appears (“I’m Afraid Of Americans” is a song recorded as “Earth ring”, but it is a retake of songs already announced in 1995). It is trying to faithfully reproduce the digital sound which is the feature of the album “earth ring” such as piano solos and driving electronic sounds inserted between them. For the ending it is finished with a piano playing the “Time” introphrase that would be a fan service. “The Man Who Sold The World” is one of the things to listen to as a bold arrangement just as an old song. With the sound of a guitar somewhat oriental sounding back, it is showing off in a form close to a cappella based on a rhythm track. “Fashion” is a piece of music that seems to have affinity for arrangement of this tour, among past songs, but contrary to imagination it is even funkier than the original. Then again the new song “Seven Years in Tibet”. The film of the alliance title has been released in 1997, but the bowie is a song inspired by the original regardless of the movie. “Fame” has been given a strange intro, first noticing that it is “Fame”. Beginning with strained guitars and heavy riffs, this is also reborn as a bold arrangement. It seems that the performance is daringly going forward without doubt. The same also applies to “Stay”, an intro of electronic sound is given, and then it is arranged to be superimposed with familiar guitar riffs. A digital atmosphere that covers the whole is interesting. “Looking For Satellites” is also a new song.
info from GigInJapan
David Bowie – Budapest 1997 (The complete concert recording)
David Bowie Tour band 1997 Earthling Tour
Superb Bowie Performance From The Earthling Tour. David Bowie’s 20th studio album was originally released in February 1997 on Arista Records. Earthling showcased an electronica-influenced sound partly inspired by the industrial and drum and bass culture of the 1990s. It was the first album Bowie self-produced since 1974’s Diamond Dogs.
The Earthling Tour started on 7 June 1997 at Flughafen Blankensee in Lübeck, Germany, continuing through Europe and North America before reaching a conclusion in Buenos Aires, Argentina on 7 November 1997. On August 14, ‘97, Bowie performed at Hungary’s Student Island Festival in Budapest, where he put on a quite extraordinary show, accompanied as he was by Reeves Gabrels on guitar, Gail Ann Dorsey on bass, Zack Alford on drums and Mike Garson on keyboards. Playing just a few tracks from the new record plus a fine selection of back catalogue gems, the entire show was broadcast, both across Eastern Europe and indeed in the US too on selected FM stations. Previously unreleased this remarkable gig is now available on this priceless CD for the first time..
The Tour band
• David Bowie: vocals
• Reeves Gabrels: guitar, backing vocals
• Gail Ann Dorsey: bass guitar, vocals
• Zachary Alford: drums
• Mike Garson: keyboards, backing vocals
• Mike Garson: keyboards,
