Great news. Can’t wait to get my hands on a physical copy.

I'm really interested in the Earls Court 78 show that was rumoured for a full release.

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hockenheim95
I'm really interested in the Earls Court 78 show that was rumoured for a full release.

me too

but i haven't heard anything about it for months

maybe it's not coming this year or like with this box they've gotten very good at hiding bowie releases until there ready to release them

'I Can’t Give Everything Away (2002-2016)' - 13 CDs or 18 Vinyl-LPs:

12-Sep-2025 - [SuperDeluxeEdition.com] . Review: [SuperDeluxeEdition.com] .



Edited 1 time(s). Last edit at 2025-09-16 14:35 by Irix.

David Bowie’s secret final project discovered locked in his study

[www.bbc.com]

When David Bowie died in 2016, his parting gift was a final album, Blackstar, shaped by his cancer diagnosis and an acceptance of mortality.

But in his final months, he had also started another project, described in his notes as an "18th Century musical".

Called The Spectator, its existence was unknown to even his closest collaborators – until the notes were discovered locked in his study in 2016. They have now been donated to the V&A Museum, with the rest of Bowie's archive.

Shared exclusively with the BBC, they show Bowie's fascination with the development of art and satire in 18th Century London, alongside stories of criminal gangs and the notorious thief "Honest" Jack Sheppard.

Had it been completed, the musical would have realised one of Bowie's lifelong ambitions.

"Right at the very beginning, I really wanted to write for theatre," he told BBC Radio 4's John Wilson in 2002.

"And I guess I could have just written for theatre in my living room – but I think the intent was [always] to have a pretty big audience."

Bowie's notes for The Spectator were found as he had left them, pinned to the walls and stored in his office in New York.

The room was always locked – only Bowie and his personal assistant had a key – so they were left undisturbed until archivists started cataloguing his belongings.

They will be available for fans and scholars to view when the David Bowie Centre opens at the V&A East Storehouse in Hackney Wick on 13 September.

"We even have the desk [where he worked] at the Storehouse, as well," says Madeleine Haddon, the collection's lead curator.

An entire notebook is devoted to The Spectator, a daily periodical that ran for 555 issues between 1711 and 1712 commenting on the manners and fads of London society.

Writing in black pen, Bowie summarised several of the publication's key essays, scoring them out of 10.

He particularly enjoyed a morality tale about two sisters – one beautiful but "vain and severe", who lost a suitor to her plain, but more agreeable, sibling.

Awarding it eight out of 10, Bowie commented, "could be a good subplot".

He was also amused by a report concerning a Mr Clinch of Barnet, who could imitate the sounds of horses, hounds, an old woman and a bassoon "all with his own natural voice, to the greatest perfection".

Prof Bob Harris, a historian and 18th Century specialist at the University of Oxford, says he can understand why the period caught Bowie's attention.

"London, at that stage, was such an exciting, vibrant and diverse city," he says.

"It was the largest city in western Europe, with a population of over half a million, and it had an ebullient print media that was constantly commentating on the fashions and follies of the age."

A fascination with 18th Century London

Bowie was particularly fascinated by crime and punishment.

In one note, he envisaged the aftermath of a public hanging, with "surgeons fighting over corpses".

He also considered making Jack Sheppard, a petty thief who had won the public's affection, one of the main characters. He also references "thief-taker general" Jonathan Wild, a vigilante who was responsible for Sheppard's arrest and execution.

Another possible plot point involved a "central figure" in the musical being attacked by a notorious gang known as the Mohocks.

"The Mohock phenomenon emerged in 1712 and became a media frenzy," says Prof Harris.

"And what it involved was young men of high social status basically getting drunk in the evening and then attacking people on the streets of London, often women, sometimes elderly Watchmen.

"London threw up so many different juxtapositions. Juxtapositions between high and low, between the virtuous and the criminal, and these things existed cheek by jowl.

"I think it presented so much that was beguiling to contemporaries, but also clearly that Bowie himself found fascinating."

On a broader level, Bowie constructed a chronology of the early 18th Century, looking at painters such as Joshua Reynolds and William Hogarth, and the creation of the Royal Academy.

"He was interested in the development of musicals themselves in London in this period, and how musicals were used for political satire, particularly towards the Robert Walpole government," says Haddon.

"It seems he was thinking, 'What is the role of artists within this period? How are artists creating a kind of satirical commentary?'"

She speculates that the musician was drawing parallels between the Enlightenment and the modern day.

"It's interesting to think that Bowie was working on this in the US in 2015, with the political situation that was taking place there. Was he thinking about that: The power of art forms to create change within our own political moment?" she asks

Ultimately, we will never know Bowie's intentions. But the musician's archive, which runs to some 90,000 objects, will keep scholars busy for years.

About 200 items will be on display at the centre, but visitors can book an appointment to view anything from the collection in person – from stage costumes to handwritten lyrics – by filling out an online form.

"I'm so excited to see the impact this will have [on] the next generation of musicians, artists, designers and creators of all kinds," says Haddon.

"If you think about how so many young people today don't want to be defined by a singular genre, Bowie really was a pioneer for that.

"I hope people take away the breadth of impact he's had on popular culture – but I also hope people will be prompted to think about the tools and processes Bowie used that they can apply to their own creativity."

Thanks, enjoyed reading this.

Thanks for the news Prof W

Station to Station - 50th anniversary - picture disc and black half-speed vinyl (both 2016 remaster) :




23-Jan-2026 - [SuperDeluxeEdition.com] .

What's happening with the Earl's Court 1978 film release? Didn't they say it would be out in 2025? Guess not.

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mosthigh
What's happening with the Earl's Court 1978 film release? Didn't they say it would be out in 2025? Guess not.

i'd like to know that too as i was really looking forward to it but now it looks like it not happening

at least not yet

maybe it's ready to go but for whatever reason it's being held back

perhaps they have something big planned for the 10th anniversay of bowie's death and blackstar's release and don't want it getting in the way so there putting it off for the end of next year

In remembrance of David Bowie - (8 January 1947 - 10 January 2016).

Much missed. I love this clip - on seeing the Stones circa 1963.

[youtu.be]

Here's a remembrance of David Bowie by Paul Sinclair of [SuperDeluxeEdition.com] .

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SomeTorontoGirl
Much missed. I love this clip - on seeing the Stones circa 1963.

[youtu.be]

The whole interview is very enjoyable, but this clip never fails to crack me up. Thanks for posting, STG.

How can it be 10 years? Time is flying by.

T@3

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TeaAtThree
How can it be 10 years? Time is flying by.

T@3

It is bizaRRE. I didn't realize it.

Unfortunately that's life.

I listen to BLACKSTAR a lot. It's excellent.

I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.



Edited 1 time(s). Last edit at 2026-01-11 18:50 by RisingStone.

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

i personally think that outside and earthling are nearly as good as anything he made in the 70's as well as blackstar

still kinda shocking that he's gone

this one is a favorite of mine





dead man walking - late night with conan o'brien 1997

I watched this TV program again yesterday.
Kyoto, the City Bowie Loved
[www.youtube.com]

It was interesting to see the interview with Geoffrey MacCormack on this.

I remember when Bowie first came to Japan by ship.
Geoffrey and Bowie arrived at Yokohama Port, since Bowie really hated flying.


The guy on the right is Geoffrey.

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

How do you estimate Let’s Dance BTW?

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RisingStone

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

How do you estimate Let’s Dance BTW?

I'm not GasLightStreet, but I think it's a great release. Bowie going full-on pop, with exceptional results. With this release, he really showed he could keep with the times and reinvent himself once more. The singles have really stood the test of time.

Sorry Stones: Undercover isn't as good!



Edited 1 time(s). Last edit at 2026-01-12 13:38 by Big Al.

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

I have to admit it: I like modern Bowie more than 'vintage' Bowie. I find Diamond Dogs fantastic, but I think Heathen, Reality and The Next Day are better than most of his 1970's work....

Black Star is brilliant, but sometimes a tough listen. You really need to be in the mood.

Mathijs

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Big Al

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RisingStone

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

How do you estimate Let’s Dance BTW?

I'm not GasLightStreet, but I think it's a great release. Bowie going full-on pop, with exceptional results. With this release, he really showed he could keep with the times and reinvent himself once more. The singles have really stood the test of time.

Sorry Stones: Undercover isn't as good!

Agreed.

Someone calls Let’s Dance and the subsequent times his ‘pop star’ period after ‘Ziggy (glam)’, ‘Plastic Soul (pseudo-Philly soul)’ and the ‘Berlin era’, i.e. another persona he put on in the days MTV ruled the world, the 80s. Of the two albums that followed, though, Tonight was mediocre or acceptable at best, and Never Let Me Down was…a letdown (according to the received wisdom. I’ve never given it a spin).

Anyway, what’s important for Bowie is ‘ch-ch-ch-ch-changes’.

As regards Undercover, I leave it to GLS. I like it, at least.

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Mathijs

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

I have to admit it: I like modern Bowie more than 'vintage' Bowie. I find Diamond Dogs fantastic, but I think Heathen, Reality and The Next Day are better than most of his 1970's work....

Black Star is brilliant, but sometimes a tough listen. You really need to be in the mood.

Mathijs

Nice to find someone who feels the same way! I totally agree - I find his earlier output overplayed, and it just doesn't resonate with me, but the 90s solo stuff onwards for me is in a whole different league.

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Barkerboy2

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Mathijs

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GasLightStreet

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RisingStone

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noughties
I saw the 10 years anniversary docu produced by Channel 4 at our state channel last nigh... I have to say he lost his muse after Scary Monsters. Let´s Dance was never him. I´m not saying that Black Star is bad. It was strange to hear that he cried after having read the Melody Maker review after the second Tin Machine album.

I’d rather like to think Let’s Dance was part of Bowie. Yes it’s commercial and made to sell, but it’s good in its own right and I like it.

The Next Day, his penultimate album released in his resurgence, was a quality one, and Blackstar, Bowie’s swan song, was a remarkable achievement that capped his illustrious career.

THE NEXT DAY is excellent. I was astounded at how good it was. BLACKSTAR was - and is - mind blowing. Although I like his early creations I find is last two albums to be much more interesting. The depth of life is so much more.

I have to admit it: I like modern Bowie more than 'vintage' Bowie. I find Diamond Dogs fantastic, but I think Heathen, Reality and The Next Day are better than most of his 1970's work....

Black Star is brilliant, but sometimes a tough listen. You really need to be in the mood.

Mathijs

Nice to find someone who feels the same way! I totally agree - I find his earlier output overplayed, and it just doesn't resonate with me, but the 90s solo stuff onwards for me is in a whole different league.

That would be another point of argument, and sounds like a stretch to me TBHWY.
Admittedly I haven’t given a listen to all of Bowie’s 1990s-2000s releases, on the whole I rate the classic Bowie of the 1970s higher than his work in those years.

The Next Day and Blackstar are from yet another of his phase, Bowie’s last stand as it were, the latter in particular. They are on another level above the preceding two (or three, depending on your view) decades.



Edited 1 time(s). Last edit at 2026-01-12 20:13 by RisingStone.

Am I the only one that likes "hours..."? I think its @#$%& brilliant and only gotten better with time. I don't know why THAT one has always been singled out as a real stinker. I guess cause he wasn't really doing anything really off the wall? Just kinda felt like happy, content Bowie, but I thought the songs were super strong and I'm sorry the reception to it really got to him.

Granted, if its what led to Reality and Heathen then its not for nothing. But the hours/Toy era is so often overlooked.

Its really crazy how consistent Bowie was. IMO he has a down decade from 84-94. I've tried and just Tonight, Never Let Me Down, Tin Machines, Black Tie White Noise, and Buddha were just not my thing. But the subsequent decade from 95-05 really made up for it in a big way.

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RollingFreak
Am I the only one that likes "hours..."? I think its @#$%& brilliant and only gotten better with time. I don't know why THAT one has always been singled out as a real stinker. I guess cause he wasn't really doing anything really off the wall? Just kinda felt like happy, content Bowie, but I thought the songs were super strong and I'm sorry the reception to it really got to him.

Granted, if its what led to Reality and Heathen then its not for nothing. But the hours/Toy era is so often overlooked.

Its really crazy how consistent Bowie was. IMO he has a down decade from 84-94. I've tried and just Tonight, Never Let Me Down, Tin Machines, Black Tie White Noise, and Buddha were just not my thing. But the subsequent decade from 95-05 really made up for it in a big way.

I almost put, “Hours sucks,” in this post and then remembered I only had given a couple of listens to the album as it didn’t click on me on the first run hence unfair.

I’ve left it at home (halfway around the globe from where I am now) and I’m anti-streaming as I posted somewhere here so don’t have a means to give it another try I’m afraid…