David Bowie 1987-10-02 Minneapolis ,Saint Paul Civic Center – Live in St Pauls – (Z67 – Steveboy remake) – SQ -8

David Bowie 1987-10-02 Minneapolis ,Saint Paul Civic Center – Live in St Pauls – (Z67 – Steveboy remake).
Sound Quality Rating

03 – Up The Hill Backwards.flac
01 – Purple Haze (instrumental).flac
02 – Carlos Alomar guitar intro.flac
04 – Glass Spider.flac
05 – Up The Hill Backwards (reprise).flac
06 – Day-In Day-Out.flac
07 – Bang Bang.flac
08 – Absolute Beginners.flac
09 – Loving The Alien.flac
10 – China Girl.flac
11 – Rebel Rebel.flac
12 – Fashion.flac
13 – Scary Monsters (And Super Creeps).flac
14 – All The Madmen.flac
15 – Never Let Me Down.flac
16 – Big Brother.flac
17 – Chant Of The Ever Circling Skeletal Family.flac
18 – 87 And Cry.flac
19 – “Heroes”.flac
20 – Sons Of The Silent Age.flac
21 – Time Will Crawl.flac
22 – Young Americans.flac
23 – Beat Of Your Drum.flac
24 – The Jean Genie – Satisfaction (instrumental).flac
25 – Let’s Dance-.flac
26 – Fame – War.flac
27 – Time.flac
28 – Blue Jean.flac
29 – I Wanna Be Your Dog.flac
30 – White Light White Heat.flac
31 – Modern Love.flac

Label : No label
Audio Source : audience
Lineage : TDK SA C90 tapes ,My copy believed to be a 2nd generation tape.
Total running time : 2:16:22
Sound Quality : Much noise ,dull ,but still good listened to
Attendance : ???
Artwork : None
Remake : By SteveBoy
Tracksplit : By Zannalee1967.

Along instrumental intro of Bang Bang

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In October 1987, Minnesota was gripped with World Series fever. As Bowie came to town, an article reported that the seemingly insecure slogan “Minneapolis Metrodome, we like it here,” having been “the target of a week’s worth of razzing on radio station KQRS,” would henceforth be covered by a Twins banner. On Oct. 3, the front-page story reported that the Twins had been scandalously spotted — wait for it — drinking at an airport bar. “Pro athletes,” asked the headline, “Role models off field?”

Still, there on the cover of the Variety section was a Bowie review by Bream, headlined, “Bowie show challenges audience.” It begins, “David Bowie’s ‘Glass Spider’ concert tour is a major challenge to both the performer and his audience.” (Bowie himself, Riemenschneider points out, had originally been scheduled to play the Metrodome; low ticket sales caused the tour stop to be moved across the river for a two-night stand at the Civic Center.)

Bream said the “experience,” a 135-minute show for an audience of 10,000, mixed “avant-garde performance art, modern dance, European theater and rock music.” Noting that the show was a departure from the 1983 Serious Moonlight Tour, Bream wrote that the show was “a dizzying, sometimes dazzling and often distracting display of video-age images ranging from Bowie flying through the air a la Peter Pan to five singer-dancers carrying on like a dada theater troupe.”

In a review that was much more substantive than Anthony’s 1974 blurb — reflecting the vast jump in Bowie’s stardom over the intervening 13 years — Bream called the show “triumphant both musically and artistically,” with Bowie commanding the stage “with a magnetism and dynamism that puts him in the same league as the more athletic Bruce Springsteen, Prince and Mick Jagger.”

While Bowie’s renditions of hits like “Young Americans” and “Rebel, Rebel” were relatively straightforward, wrote Bream, the songs from his current album Never Let Me Down featured heavy dramatics that were at best “innovative psycho-dramas” and at worst “senseless productions with hip group-gymnastics like the Oscars have tried to stage for years.”

In the end, concluded Bream, the show — which took place under “a giant spider with 50-feet legs” — “was rivaled for rock ‘n’ roll spectacle only by Madonna’s recent show.”

In the St. Paul Pioneer Press, Rick Mason agreed that Bowie’s musical performance was “absolutely riveting when his vocal convictions merged with his charismatic delivery and the purposeful rocking of the band, especially guitarist Peter Frampton.” Mason also found the “assorted shenanigans that went on onstage seemed not to have much to do with the music Bowie was singing.”

Saying the show lacked the “the unifying vision” of the Ziggy Stardust era, Mason still applauded the show’s music — particularly Frampton’s guitar work. “Heroes” was “nearly show-stopping,” Bowie was “vocally sharp,” and Frampton’s solos were “near-brilliant.”

Still, those dancers. “The odd characters cavorting about the stage seemed out of Bowie’s apocalyptic visions or a Fellini movie.”

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

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